516 research outputs found
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
(Coarse Coding of Shape Fragments) + (Retinotopy) = Representation of Structure
No full textst as tens of thousands of spoken words can be generated using a small number of phonemes as components (Biederman, 1987). The symbolic/structural approach to representation can be challenged as a model of human performance, which falls short of viewpoint invariance and is limited in other ways (Edelman, 1999). So far, it also proved to be a poor blueprint for computer vision, where no full-fledged system based on structural representations was ever implemented. This short note outlines an alternative to conventional structural representations, based on an established model of recognition and categorization: the Chorus of Prototypes (Edelman, 1998). The extended model, which I call the Chorus of Fragments (CoF), is based on the idea of combining "what" and "where" information within the same computational units. CoF aims at supporting all four core recognition-related tasks listed above, without recourse to problematic symbol-and-structure techniques. Present address:
Henri Temianka Correspondence; (edelman)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/1909/thumbnail.jp
Henri Temianka Correspondence; (edelman)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/1913/thumbnail.jp
Henri Temianka Correspondence; (edelman)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/1910/thumbnail.jp
Henri Temianka Correspondence; (edelman)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/1908/thumbnail.jp
Henri Temianka Correspondence; (edelman)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/1912/thumbnail.jp
Henri Temianka Correspondence; (edelman)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/1914/thumbnail.jp
Psychophysical support for a 2D view interpolation theory of object recognition
No full textDoes the human brain represent objects for recognition by storing a series of twodimensional snapshots, or are the object models, in some sense, three-dimensional analogs of the objects they represent? One way to address this question is to explore the ability of the human visual system to generalize recognition from familiar to novel views of three-dimensional objects. Three recently proposed theories of object recognition --- viewpoint normalization or alignment of 3D models [Ullman, S. (1989) Cognition, 32, 193-254], linear combination of 2D views [Ullman, S. & Basri, R. (1990)], and view approximation [Poggio, T. & Edelman, S. (1990) Nature, 343, 263-266] --- predict different patterns of generalization to novel views. We have exploited the conflicting predictions to test the three theories directly, in a psychophysical experiment involving computer-generated 3D objects. Our results suggest that the human visual system is better described as recognizing these objects by 2D view in..
REPRESENTATION IS SPACE-VARIANT
No full textABSTRACT: Under shift, caused for example by eye movement, or by relative movement of the subject or object of perception, the cortical representation undergoes very large changes in “size ” and “shape”. Space-variance of cortical representation rules out models which fundamentally require linear interpolation between shifted patterns (e.g. Shimon Edleman’s model), or rigid shift of an invariant retinal stimulus corresponding to shift at the cortex (e.g. the shifter theory of VanEssen). Recently, a computational solution to “quasi-shift ” invariance for space-variant mappings has been constructed [Bonmassar and Schwartz, 1997a, Bonmassar and Schwartz, 1997b]. Shimon Edelman’s (SE,from here on) work addresses an important gap in the computational discus-sion of neural representation, which to date has largely been carried out on a verbal level. His position is that representation is a record of similarities to stored prototypes, rather than direct representation in the form of templates, or feature vectors. Rather than learn all possible prototypes (similarities), a ”small” number are stored, with interpolation of new stimuli providing generalization. SE uses a particular form of cluster analysis (multi-dimensional scaling) to effect classification. No neurally plausible means of implementing multi-dimensional scaling in the brain is provided, and no comparison to other similar forms of clustering, or indeed, of statistical pattern recognition in general, is supplied. It seems to us to there is a basic mathematical equivalence between clustering based on “similarities ” and clustering based on direct feature vector representation. We will instead focus on the issue of linear interpolation of learned prototypes, which we identify as the key contribution of this model. Representation in the brain is expressed, we believe, in a wide variety of cortical loci. The majority of cortical visual area’s are topographically organized, and we assert that spatial representation in the brain (in the form of topography and columnar spatial patterns) are themselves a form of representation, and one which obviously does not depend on “similarities ” between prototypes, but which is an example o
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