‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.

Decreasing the interference of visual-based P300 BCI using facial expression changes

Interferences from the spatially adjacent non-target stimuli evoke ERPs during non-target sub-trials and lead to false positives. This phenomenon is commonly seen in visual attention based BCIs and affects the performance of BCI system. Although, users or subjects tried to focus on the target stimulus, they still could not help being affected by conspicuous changes of the stimuli (flashes or presenting images) which were adjacent to the target stimulus. In view of this case, the aim of this study is to reduce the adjacent interference using new stimulus presentation pattern based on facial expression changes. Positive facial expressions can be changed to negative facial expressions by minor changes to the original facial image. Although the changes are minor, the contrast will be big enough to evoke strong ERPs. In this paper, two different conditions (Pattern_1, Pattern_2) were used to compare across objective measures such as classification accuracy and information transfer rate as well as subjective measures. Pattern_1 was a “flash-only” pattern and Pattern_2 was a facial expression change of a dummy face. In the facial expression change patterns, the background is a positive facial expression and the stimulus is a negative facial expression. The results showed that the interferences from adjacent stimuli could be reduced significantly (P<;0.05) by using the facial expression change patterns. The online performance of the BCI system using the facial expression change patterns was significantly better than that using the “flash-only” patterns in terms of classification accuracy (p<;0.01), bit rate (p<;0.01), and practical bit rate (p<;0.01). Subjects reported that the annoyance and fatigue could be significantly decreased (p<;0.05) using the new stimulus presentation pattern presented in this paper.