Facial affect recognition and schizotypal personality characteristics

Aim: Deficits in facial affect recognition are well established in schizophrenia, yet relatively little research has examined facial affect recognition in hypothetically psychosis-prone or ‘schizotypal’ individuals. Those studies that have examined social cognition in psychosis-prone individuals have paid little attention to the association between facial emotion recognition and particular schizotypal personality features. The present study therefore sought to investigate relationships between facial emotion recognition and the different aspects of schizotypy.

Methods: Facial affect recognition accuracy was examined in 50 psychiatrically healthy individuals assessed for level of schizotypy using the Schizotypal Personality Questionnaire. This instrument provides a multidimensional measure of schizophrenia proneness, encompassing ‘cognitive-perceptual’, ‘interpersonal’ and ‘disorganized’ features of schizotypy. It was hypothesized that the cognitive-perceptual and interpersonal aspects of schizotypy would be associated with difficulties identifying facial expressions of emotion during a forced-choice recognition task using a standardized series of colour photographs.

Results: As predicted, interpersonal aspects of schizotypy (particularly social anxiety) were associated with reduced accuracy on the facial affect recognition task, but there was no association between affect recognition accuracy and cognitive-perceptual features of schizotypy.

Conclusions: These results suggest that subtle deficits in facial affect recognition in otherwise psychiatrically healthy individuals may be related to the vulnerability for interpersonal communication difficulties, as seen in schizophrenia.

An empirical analysis of colour image segmentation using fuzzy c-means clustering

In this paper, an empirical analysis to examine the effects of image segmentation with different colour models using the fuzzy c-means (FCM) clustering algorithm is conducted. A qualitative evaluation method based on human perceptual judgement is used. Two sets of complex images, i.e., outdoor scenes and satellite imagery, are used for demonstration. These images are employed to examine the characteristics of image segmentation using FCM with eight different colour models. The results obtained from the experimental study are compared and analysed. It is found that the CIELAB colour model yields the best outcomes in colour image segmentation with FCM.

Synthesis of 2-(selenophen-2-yl) pyrroles and their electropolymerization to electrochromic nanofilms

The divergent syntheses of 2-(selenophen-2-yl)pyrroles and their N-vinyl derivatives from available 2-acylselenophenes and acetylenes in a one-pot procedure make these exotic heterocyclic ensembles accessible. Now we face a potentially vast area for exploration with a great diversity of far-reaching consequences including conducting electrochromic polymers with repeating of pyrrole and selenophene units (emerging rivalry for polypyrroles and polyselenophenes), the synthesis of functionalized pyrrole–selenophene assembles for advanced materials, biochemistry and medicine, exciting models for theory of polymer conductivity.

Contemporary planning education and Indigenous cultural competency agendas : erasing terra nullius, respect and responsibility

As noted in Universities Australia’s (2011a, 2011b) investigations into Indigenous Cultural Competency, most universities have struggled with successfully devising and achieving a translation of Indigenous protocols into their curricula. Walliss & Grant (2000: 65) have also concluded that, given the nature of the built environment disciplines, including planning, and their professional practice activities, there is a “need for specific cultural awareness education” to service these disciplines and not just attempts to insert Indigenous perspectives into their curricula. Bradley’s policy initiative at the University of South Australia (1997-2007), “has not achieved its goal of incorporation of Indigenous perspectives into all its undergraduate programs by 2010, it has achieved an incorporation rate of 61%” (Universities Australia 2011a: 9; http://www.unisa.edu.au/ducier/icup/default.asp).

Contextually, Bradley’s strategic educational aim at University of South Australia led a social reformist agenda, which has been continued in Universities Australia’s release of Indigenous Cultural Competency (2011a; 2011b) reports that has attracted mixed media criticism (Trounson 2012a: 5, 2012b: 5) and concerns that it represents “social engineering” rather than enhancing “criticism as a pedagogical tool ... as a means of advancing knowledge” (Melleuish 2012: 10). While the Planning Institute of Australia’s (PIA) Indigenous Planning Policy Working Party has observed that fundamental changes are needed to the way Australian planning education addresses Indigenous perspectives and interests, it has concluded that planners “! perceptual limitations of their own discipline and the particular discourse of our own craft” were hindering enhanced learning outcomes (Wensing 2007: 2). Gurran (PIA 2007) has noted that the core curriculum in planning includes an expectation of “knowledge of ! Indigenous Australian cultures, including relationships between their physical environment and associated social and economic systems” but that it has not been addressed. This paper critiques these discourses and offers an Indigenous perspective of the debate.

Recovering the hidden through found-footage films

In the early nineteen seventies materialist experimental film was cogently rejected by feminist theorists for its inability to deliver a feminist counter-cinema addressing its political agenda. The concomitant development of feminist psychoanalytic readings of “dominant cinema” against its grain also discounted such work. This split is marked by Peter Wollen’s formulation of “two avant-gardes”, one narrative and explicit about its political position and the other non-narrative and focusing directly on implicit perceptual processes. Materialist film’s fixation on structure jettisoned content, and extended post-war painting’s essentialist move to pure abstraction manifest in abstract expressionism and minimalism. The emergence of trauma theory and the recent explosion of moving image digital media with its non-linear bias and the complex layering of “technical images” have created a new situation opening up alternate readings of such discounted materialist practices. As well as a historic precursor for digital media, it is suggested that a materialist cinema, represented here by the found footage films: Alone: Life Wastes Andy Hardy (Arnold 1998) and Dreamwork (Tscherkassky 2001), signposts a belated return for materialist film within the context of trauma studies. This materialist turn rescues such experimental film from its traumatic excision and extends an understanding of what has been termed a “trauma cinema” by Janet Walker. Rather than pure, abstract or visionary such practice is read here through trauma theory as performing implicit mechanisms of denial and erasure.

Found footage: recycling historic material a-historically

The digital has speeded up multi-platform image delivery, to impose sampling and collagic strategies into the way we process information. This is a trauma inducing situation. During an earlier period of technological change reading the moving landscape similarly overwhelmed the early train traveller. Wolfgang Schivelbusch noted that ‘The inability to acquire a mode of perception adequate to technological travel crossed all political, ideological and aesthetic lines.’ (1983) New perceptual strategies had to be developed that contextualized the blur and the streak produced by looking out the train window without overwhelming the viewer. Utilizing Chris Brewin’s (2001) model of two parallel memory systems, this paper argues that, as another round of unprecedented technological change impacts on our senses, another ‘re-alignment’ of the senses is required. Chris Brewin’s (2001) model of two parallel memory systems, of Verbally Accessible Memory (VAM) and Situational Accessible Memory (SAM), suggests that the current information explosion requires a greater emphasis on the SAM system for processing information and critical thinking. Processed through the amygdala, SAM is implicit, situationally triggered, information intensive and conveys no sense of time. Found footage films, like those of Martin Arnold and Peter Tscherkassky that cut up, layer, repeat and recycle historic imagery perform the sampling and collagic strategies that characterize this SAM memory system to demonstrate a more visually based mode of critical thinking.

Instrumental vision

This chapter interrogates stereo-immersive ‘virtual reality’ (VR), the technology that enables a perceiver to experience what it is like to be immersed in a simulated environment. While the simulation is powered by the “geometry engine” (Cutting, 1997: 31) associated with high-end computer imaging technology, the visual experience itself is powered by ordinary human vision: the vision system’s innate capacity to see “in 3D”. To understand and critically appraise stereo-immersive VR, we should study not its purported ‘virtuality’, but its specific visuality, because the ‘reality’ of a so-called ‘virtual environment’ is afforded by the stereoacuity of binocular vision itself. By way of such a critique of the visuality of stereo-immersive VR, this chapter suggests that we think about the ‘practice’ of vision, and consider on what basis vision can have its own ‘materiality’. Pictorial perception is proposed as an exemplary visual mode in which the possibilities of perception might emerge. Against the ‘possibilities’ of vision associated with pictures, the visuality of stereo-immersive VR emerges as a harnessing, or ‘instrumentalisation’ of vision’s innate capabilities. James J. Gibson’s ‘ecological’ approach to vision studies is referenced to show the degree to which developers of VR have sought — and succeeded — to mimic the ‘realness’ of ordinary perceptual reality. This raises a question concerning whether the success of stereo-immersive VR is simultaneously the source of its own perceptual redundancy: for to bring into being the perceptual basis of ordinary ‘real’ reality, is to return the perceiver to what is already familiar and known.

Duoscope

The ambiguous representation of spatial depth in Thornton Walker’s painting The Homage creates a peculiar sense in which the ‘whereness’ of depicted objects and atmosphere cannot be ascertained by, either perspectival convention or perceptual strategies. This visual-spatial ambiguity resonates with my interested in ‘broken’ stereography. Hence, ‘duoscopy’ refers to the limitations of binocular vision when the object of perception is itself duplicitous.

Prospective memory in a virtual environment: beneficial effects of cue saliency

Prospective Memory (PM) research focuses on how the cognitive system successfully encodes and retains an intention, before retrieving it at a particular future time or in response to a particular future event. Previous work using 2D text stimuli has shown that increasing the saliency of the retrieval cue can improve performance. In this work, we investigated the effect of increased cue saliency in a more ecologically valid 3D virtual environment. The findings indicate that increased perceptual saliency of the cue does benefit PM in a dynamic and visually rich environment but that the impact of cue saliency does not interact with attentional load.

Positive effects of nicotine on cognition: the deployment of attention for prospective memory

Rationale 

Souvenirs of the senses: collaborative and cross-artform makings

Souvenir hunters are often limited in their selection of souvenirs to objects that evoke an iconic and/or generic relationship to place. For example, a small-scale replica of the Eiffel Tower might substitute for a whole range of other more personal responses to the sensory experience of being in Paris. This paper reports on a collaborative and cross-artform five-day workshop, “Souvenirs of the Senses”, conducted in Qatar in early 2013 as part of Tasmeem Doha: Hybrid Making, a biennial international art and design conference. Two of the three workshop leaders, Patrick West and Jondi Keane, were Australian-based visitors whereas workshop leader Valerie Jeremijenko is permanently based in Qatar. There were five workshop participants from a diverse range of international and Qatari backgrounds. One of the conference themes, “Made in Qatar”, heightened our attention to what it means to be spending time in, and making things in, one place as opposed to any other place. What did it mean to be making something in a country where so many things have to be imported? Building on this line of thought, the second conference theme, “Hybrid Making”, suggested possibilities for undoing traditional modes of souvenir making as part of the creation of more complex objects that might be sutured to the singular experiences of place that happen when a.) established regimes of tourism are disrupted, and b.) experiences of place are curated via a focused awareness of the operations of the senses as sustained within our collaborative, cross-artform workshop environment. What attracts our attention is how objects ripe for “souveniring”, when they are considered as perceptual systems, suggest new ways of experimenting with the fabrication of objects and of artistic and individual relationships to place, and further, how hybrid souvenirs affect the way in which a place is re-membered (put together) and re-made in memory.

Material writing: Towards hybrid-making

Writing operates in an expanding field of intersections between symbol, inflection and further meaning. The materiality of writing, its embodied action, situated context and myriad substantive expressions, requires an interdisciplinary approach best advanced by collaborative teams and fuelled by collective concerns. At a recent design conference, Doha 2013: Hybrid Making, our team of creative arts researchers (Jondi Keane, Patrick West and Valerie Jeremijenko) conducted a workshop based on the idea of reverse engineering the notion of a souvenir, by starting with the sensation rather than the iconic image. The approaches explored by the group focused on the ways in which a sensation, emotion and/or idea attach to an object and how an object offers itself as an attractor for memory and indicate that when experience, sensation and place are emphasized, the materiality of writing comes to the fore. We assert that material writing allows or even requires a fluid movement between conceptual and perceptual modes of creative practice. In this paper we will unpack different methods of material writing: the materiality of the act of writing with substances, site-specific/site-conditioned writing and 3D printing. Through the particularity of each mode of material writing our discussions will examine the points of attachment that we, as symbolizing creatures, produce in order to orient and reconstruct a world on the fly. Material writing constantly brings us back to earth, anchoring us to the expanded processes integral to hybrid-making.

Medical image retrieval based on unclean image bags

Traditional content-based image retrieval (CBIR) scheme with assumption of independent individual images in large-scale collections suffers from poor retrieval performance. In medical applications, images usually exist in the form of image bags and each bag includes multiple relevant images of the same perceptual meaning. In this paper, based on these natural image bags, we explore a new scheme to improve the performance of medical image retrieval. It is feasible and efficient to search the bag-based medical image collection by providing a query bag. However, there is a critical problem of noisy images which may present in image bags and severely affect the retrieval performance. A new three-stage solution is proposed to perform the retrieval and handle the noisy images. In stage 1, in order to alleviate the influence of noisy images, we associate each image in the image bags with a relevance degree. In stage 2, a novel similarity aggregation method is proposed to incorporate image relevance and feature importance into the similarity computation process. In stage 3, we obtain the final image relevance in an adaptive way which can consider both image bag similarity and individual image similarity. The experiments demonstrate that the proposed approach can improve the image retrieval performance significantly.

Using appreciative inquiry to frame the appraisal of an Australian initial teacher education program

This paper reports on a study that investigated the process and outcomes of using Appreciative Inquiry (AI) in an Australian initial teacher education (ITE) program review. The aim of the study, which drew on a sample of teaching staff involved in this Master of Teaching program, was to gain an understanding of the extent to which the application of the AI framework can be used effectively in the review of ITE programs. AI promotes collegial reflective practice and the generation of positive resolutions and thus aligned with the purposes of the review that were to foster collaboration, strengthen staff morale and, subsequently, build a stronger program for students. This paper provides a perceptual account of the AI review process as reported by the facilitators and a sample of review participants, and contributes to international literature in the areas of ITE program appraisal, organisational reform and Appreciative Inquiry.

Fostering connections for student success: using Appreciative Inquiry to promote positive growth in a university course

This paper reports on a study of the review process of the first iteration of a recentlyimplemented higher education program. Specifically, the paper discusses the inaugural review of a two-year graduate level pre-service teaching program at an urban Australian university. The aims of the study into this Master of Teaching program were twofold. First, it sought to gain an understanding of the strengths and limitations of the program from the perspectives of the staff members involved and to explore avenues for positive growth. Second, it examined the extent to which the application of Cooperrider, Whitney, Stavros and Fry’s (2008) Appreciative Inquiry (AI) framework can be used effectively in the review of higher education program reviews to foster connections for student success. The AI model promotes collegial reflective practice and the generation of positive resolutions and thus aligned with the purposes of the review which were to foster collaboration, strengthen staff morale and, subsequently, build a stronger program for students. This paper provides a perceptual account of the AI review process as reported by the three facilitators involved. The discussion and findings included in this paper contribute to international literature in the areas of higher education program evaluation, organisational reform and Appreciative Inquiry.