3,420 research outputs found
Recommended from our members
The nature of subjective control of Illusory Apparent Motion
No full textPolystable phenomena have been extensively studied to understand the constructive nature of perception (e.g., the Necker cube, duck-rabbit, binocular rivalry). A new polystable phenomenon, illusory apparent motion (IAM), with unique properties was recently discovered (Davidenko et al., 2017). IAM is generated in randomly refreshing pixel arrays. As a result, IAM, unlike other polystable phenomena, affords potentially counterless interpretations of the pixel motion and observers may not automatically experience an initial interpretation, instead having to rely on self-generated initial percepts. These unique properties of IAM raise a plethora of questions. In light of IAM’s unique properties, the four experiments presented here explore questions about the nature of subjective control of IAM. Experiments 1 and 2 ask whether observers can mentally control their perception of IAM (a feature common in other polystable phenomena). Experiment 1 explores this question using a motion priming and persistence task, based on the methods of Davidenko et al. (2017). Participants were presented with a series of priming frames that transitioned to frames of pure noise and reported with a single button press when the initial motion pattern appeared to change. Experiment 1 found that observers were able to mentally control IAM, evidenced by extended motion persistence when they were instructed to ‘hold’ and shortened motion persistence when they were instructed to ‘change.’ Experiment 2 explores the same question, but in a methodological context more in line with past subjective controls studies (Kohlers et al., 2008). For this task, participants were not assisted with motion primes, instead self-generating initial motion patterns, and reported their percepts dynamically throughout the trial. Experiment 2 found that participants were able to control their perception of IAM in this new, possibly more demanding, experimental context. Together, the results of Experiments 1 and 2 demonstrate that participants can subjectively control their perceptions of IAM. Experiment 3 explored questions about the potentially countless interpretations of IAM: how many interpretations of IAM can observers perceive and subjectively control? Experiment 3 tested 14 different motion types, half of which were motion types not yet explored in IAM studies (i.e., containing expansion, contraction, and shearing motion patterns). For each trial, participants were informed about one of the 14 motion types of instruction and, for one block, reported when they happened to perceive the instructed motion. In another block, participants were instructed to try and ‘hold’ the instructed motion. Experiment 3 found that observers were able to perceive many and control a few interpretations of IAM, supporting previous assumptions that observers likely experience more interpretations of IAM than other polystable phenomena. The last study, Experiment 4, explored whether it was possible to quantify some of the low- and high-level factors that can influence participants’ perception of IAM (e.g., subjective control, motion biases, motion coherence). To test this, participants were presented with two priming frames, followed by two test frames. The test frames were manipulated to present participants with (1) a nulling (prime-inconsistent) motion below and above their perceptual threshold, (2) with a facilitating (prime-consistent) motion below and above their perceptual threshold, and (3) with 0% motion. After each trial, participants reported the direction of motion that they perceived on the final two frames. Experiment 4 demonstrates that it’s possible to quantify a number of factors, including: the strength of the rebound bias, subjective control, motion nulling, and motion facilitation.Taken together, Experiments 1-4 lay the initial groundwork for exploring subjective control of IAM. Together they demonstrate subjective control in a variety of task conditions, suggest which motion types participants can control, and quantify the strength of subjective control
Differential Equation Models of Neoadjuvant Chemotherapeutic Treatment Strategies for Stage III Breast Cancer Patients
No full text26 pages, 1 article*Differential Equation Models of Neoadjuvant Chemotherapeutic Treatment Strategies for Stage III Breast Cancer Patients* (Aquirre, Edith; Smith, Tametra; Stancil, Jennifer; Davidenko, Nicolas) 26 page
Tumor Growth Dynamics. A Deterministic and Stochastic Analysis of the Interaction between Normal and Abnormal Cells
No full text13 pages, 1 article*Tumor Growth Dynamics. A Deterministic and Stochastic Analysis of the Interaction between Normal and Abnormal Cells* (Acosta, Brendaliz; Barrera, Jaime H.; Clarke, Ernesto S., II; Davidenko, Nicolas; Ting, Derek) 13 page
Dynamics of a Two-Dimensional Discrete-Time SIS Model
No full text24 pages, 1 article*Dynamics of a Two-Dimensional Discrete-Time SIS Model* (Barrera, Jaime H.; Cintron-Arias, Ariel; Davidenko, Nicolas; Denogean, Lisa; Franco-Gonzalez, Saul R.) 24 page
Recommended from our members
A holistic advantage in face drawing: higher accuracy when drawing upright faces
No full textThis study looks into the conception that drawing or copying a face that is vertically inverted will improve the
accuracy of the drawing by preventing holistic interference. We had participants draw parameterized face profiles (both upright
and inverted) that were sampled from face space (see Davidenko, 2007). In each trial, participants were shown a face on
the left side of the screen and asked to copy it on the right side. We then recorded the location of 66 landmark points on
each face drawing, allowing us to compute a distance metric between each drawing and its corresponding original face. This
distance metric served as a measure of accuracy, with higher distances corresponding to greater errors. Contrary to common
belief, people’s drawings were significantly more accurate for upright versus inverted faces (t(15) = 4.9; p=0.0002). Our results
suggest that holistic processing improves, rather than impairs, the accuracy of face drawing
The North is another country. by Nicolas Rothwell
No full texttag=1 data=The North is another country. by Nicolas Rothwell
tag=2 data=Rothwell, Nicolas
tag=3 data=Australian Magazine,
tag=6 data=16/17 November 1996
tag=7 data=20-33.
tag=8 data=NT%TOURISM
tag=10 data=Worse, better, stranger, wilder, but above all different from the rest of the country. Continuing his journey of discovery across Australia's Top half the author stops over in Darwin to hear all the truths and whispers about the North.
tag=11 data=1996/2/8
tag=12 data=96/0316
tag=13 data=CABWorse, better, stranger, wilder, but above all different from the rest of the country. Continuing his journey of discovery across Australia's Top half the author stops over in Darwin to hear all the truths and whispers about the North
Grace S. Fong, Herself an Author : Gender, Agency, and Writing in Late Imperial China, 2008
No full textZufferey Nicolas. Grace S. Fong, Herself an Author : Gender, Agency, and Writing in Late Imperial China, 2008. In: Études chinoises, n°28, 2009. Numéro spécial sur le droit chinois. pp. 243-247
New Necklaces: 400 Designs in Contemporary Jewellery
No full textAfter the successful New Rings and New Earrings, New Necklaces is the third book curated by jeweller and author Nicolas Estrada, from classic forms and materials to the most daring, experimental and surprising ideas, each of the 500 necklaces included in this book has something that makes it unique and relates strongly to today's social, cultural and artistic reality. With prefaces by German jeweller Julia Wild and Leo Caballero, owner of the Barcelona gallery Klimt 02, specialised in contemporary jewellers
How Did I Get to Princess Margaret? (And How Did I Get Her to the World Wide Web?)
No full textThe paper explores the growing use of
tools from the arts and humanities for investigation
and dissemination of social science research.
Emerging spaces for knowledge transfer, such as
the World Wide Web, are explored as outlets for
"performative social science". Questions of ethnics
and questions of evaluation which emerge from
performative social science and the use of new
technologies are discussed. Contemporary thinking
in aesthetics is explored to answer questions
of evaluation. The use of the Internet for productions
is proposed as supporting the collective
elaboration of meaning supported by Relational
Aesthetics.
One solution to the ethical problem of performing
the narrations of others is the use of the writer's
own story as autoethnography. The author queries
autoethnography's tendency to tell "sad" stories and
proposes an amusing story, exemplified by "The
One about Princess Margaret" (see Appendix).
The conclusion is reached that the free and open
environment of the Internet sidelines the usual
tediousness of academic publishing and begins to
explore new answers to questions posed about
the evaluation and ethics of performative social
science
Recommended from our members
How Do Expertise and Realism Moderate the Boundary between Real and Digital Faces?
No full textI explore a new approach to studying the development of face expertise by examining digital representations of faces. Typically digital faces have lower recognition scores than real faces, and I propose expertise and style as factors that moderate this boundary. Experiment 1 recruited participants who have played over 50 hours of The Elder Scrolls V: Skyrim as an expert population (experts, n = 51) and compared their score on an upright and inverted face recognition task against participants who had not played Skyrim (novices, n = 55). We also tested two different races of faces from Skyrim (Nord and Altmer). Participants performed significantly better on upright faces, t(104) = 14.056, p <.0001 and Altmer faces, t(104) = −5.346, p < .001, and experts performed significantly better than novices, t(103) = 2.664, p < 0.01. Participants then watched a video of gameplay with eye-tracking where participants’ proportions of fixations on Skyrim faces were recorded. This face proportion measure did not significantly correlate with any other measure. Finally, participants completed a survey with questions about the number of hours played, video game habits, open-ended questions about experiences in Skyrim, and a character recognition task. Experiment 2 recruited a new population of novice participants (n = 46) and compared scores on an upright and inverted face recognition task for morphed photos of human faces to 3 different styles of video game faces that ranged from highly realistic (Monster Hunter: World), moderately realistic (Skyrim), to highly stylized (Blade & Soul). Participants performed significantly better on upright faces over inverted faces, F(1, 45) = 13.06, p <.0001 and on realistic faces over stylized faces, F(1, 45) = 54.657, p < .0001. Participants demonstrated a significantly larger upright advantage for stylized faces over realistic faces F(1, 45) = 11.97, p < .01. Participants then completed a survey with questions about video game habits, perceived task difficulty, and looking strategies. The results for experiments 1 and 2 provide evidence to suggest that both expertise and style can account for reduced performance in digital faces, and open up questions about how these factors interact
- …
