Allocentric spatial performance higher in early-blind and sighted adults than in retinopathy-of-prematurity adults

The question as to whether people totally blind since infancy process allocentric or ‘external’ spatial information like the sighted has caused considerable debate within the literature. Due to the extreme rarity of the population, researchers have often included individuals with Retinopathy of Prematurity (RoP – over oxygenation at birth) within the sample. However, RoP is inextricably confounded with prematurity per se. Prematurity, without visual disability, has been associated with spatial processing difficulties. In this experiment, blindfolded sighted and two groups of functionally totally blind participants heard text descriptions from a survey (allocentric) or route (egocentric) perspective. One blind group lost their sight due to retinopathy of prematurity (RoP – over oxygenation at birth) and a second group before 24 months of age. The accuracy of participants’ mental representations derived from the text descriptions were assessed via questions and maps. The RoP participants had lower scores than the sighted and early blind, who performed similarly. In other words, it was not visual impairment alone that resulted in impaired allocentric spatial performance in this task, but visual impairment together with RoP. This finding may help explain the contradictions within the existing literature on the role of vision in allocentric spatial processing.

The War at Home

The reform of cities spaces and housing has been a key issue with campaigners on the left for more than a century. These campaigns have found allies in the work of socially committed photographers from Jacob Riis at the turn of the twentieth century to Margaret Morton and Camilo Jose Vergara today. Globally the current phase of neo-liberalism has brought its own issues to the city as ‘regeneration’ strategies dispossess the urban poor in areas that are potentially lucrative to real estate development. In this process known as ‘accumulation by dispossession’ large profits are accumulated in the process of dispossessing people of their land, rights and homes. Central to the theoretical component of this paper, is an interrogation of contemporary ideas on the production and photographic representation of urban space. The research hence questions photography’s ability to make ‘legible’ the key drivers of today’s emergent terrains and to visualize their connections to the networks of power and capital that articulate the current political economy (Sassen 2011:36). One strand here will be the ‘fleshing out’ of the cultural practices behind photographers mediating urban development (Jones 2013: 1.2). Alongside current corporate depictions historical precedents will be discussed. Photographers as far back as Charles Marville in Paris of the 1850’s have documented urban reconstruction (Kennel 2013). Often employed by those undertaking the demolition, these photographic images frequently suppress certain narratives of the unbuilding process. Acting as a propaganda tool they eliminate the impact on the lives of inhabitants or the economic realities driving the valorization of reconstruction schemes (James 2004). Reformist documentary images have also played their part in justifying large-scale urban reconstruction that involved the eventual displacement of existing communities (Rose 1997: Blaikie 2006). Focusing on the gentrification of social housing in Pendleton, Salford (Greater Manchester) the presentation will explore the artists’ own work through a critical discussion, photographic images and excerpts from site writing they’ve undertaken in the area since 2004. It asks can an alternative photographic and visual strategy provide a meaningful political counter narrative to combat persuasive corporate discourses on ‘urban revitalization’? The paper will explore strategies and techniques of witnessing and ask whether these types of record can counter neo-liberal visualizations that mediate the material transformation of city areas. Can such representations begin a critical conversation about the nature of urban change and who benefits from these transformations (Wyly 2010)? Can we develop this critical photography into a type of practice that moves beyond generalisations and talks about social relations though an ‘explicit analysis of society’ (Rosler 2004:195).

Individual differences and personality correlates of navigational performance in the virtual route learning task

Research on the mechanisms and processes underlying navigation has traditionally been limited by the practical problems of setting up and controlling navigation in a real-world setting. Thanks to advances in technology, a growing number of researchers are making use of computer-based virtual environments to draw inferences about real-world navigation. However, little research has been done on factors affecting human–computer interactions in navigation tasks. In this study female students completed a virtual route learning task and filled out a battery of questionnaires, which determined levels of computer experience, wayfinding anxiety, neuroticism, extraversion, psychoticism and immersive tendencies as well as their preference for a route or survey strategy. Scores on personality traits and individual differences were then correlated with the time taken to complete the navigation task, the length of path travelled,the velocity of the virtual walk and the number of errors. Navigation performance was significantly influenced by wayfinding anxiety, psychoticism, involvement and overall immersive tendencies and was improved in those participants who adopted a survey strategy. In other words, navigation in virtual environments is effected not only by navigational strategy, but also an individual’s personality, and other factors such as their level of experience with computers. An understanding of these differences is crucial before performance in virtual environments can be generalised to real-world navigational performance.

Visual memory errors in Parkinson's disease patient with visual hallucinations

The occurrences of visual hallucinations seem to be more prevalent in low light and hallucinators tend to be more prone to false positive type errors in memory tasks. Here we investigated whether the richness of stimuli does indeed affect recognition differently in hallucinating and nonhallucinating participants, and if so whether this difference extends to identifying spatial context. We compared 36 Parkinson's disease (PD) patients with visual hallucinations, 32 Parkinson's patients without hallucinations, and 36 age-matched controls, on a visual memory task where color and black and white pictures were presented at different locations. Participants had to recognize the pictures among distracters along with the location of the stimulus. Findings revealed clear differences in performance between the groups. Both PD groups had impaired recognition compared to the controls, but those with hallucinations were significantly more impaired on black and white than on color stimuli. In addition, the group with hallucinations was significantly impaired compared to the other two groups on spatial memory. We suggest that not only do PD patients have poorer recognition of pictorial stimuli than controls, those who present with visual hallucinations appear to be more heavily reliant on bottom up sensory input and impaired on spatial ability.

Towards an Asynchronous Cinema: how can the asynchronous use of sound in artists' moving image underpin the creation of dialectic tension between the audio, the visual and the audience?

This PhD by publication examines selected practice-based audio-visual works made by the author over a ten-year period, placing them in a critical context. Central to the publications, and the focus of the thesis, is an exploration of the role of sound in the creation of dialectic tension between the audio, the visual and the audience. By first analysing a number of texts (films/videos and key writings) the thesis locates the principal issues and debates around the use of audio in artists’ moving image practice. From this it is argued that asynchronism, first advocated in 1929 by Pudovkin as a response to the advent of synchronised sound, can be used to articulate audio-visual relationships. Central to asynchronism’s application in this paper is a recognition of the propensity for sound and image to adhere, and in visual music for there to be a literal equation of audio with the visual, often married with a quest for the synaesthetic. These elements can either be used in an illusionist fashion, or employed as part of an anti-illusionist strategy for realising dialectic. Using this as a theoretical basis, the paper examines how the publications implement asynchronism, including digital mapping to facilitate innovative reciprocal sound and image combinations, and the asynchronous use of ‘found sound’ from a range of online sources to reframe the moving image. The synthesis of publications and practice demonstrates that asynchronism can both underpin the creation of dialectic, and be an integral component in an audio-visual anti-illusionist methodology.