Spatial coherence does not affect contrast discrimination for multiple Gabor stimuli

Gestalt grouping rules imply a process or mechanism for grouping together local features of an object into a perceptual whole. Several psychophysical experiments have been interpreted as evidence for constrained interactions between nearby spatial filter elements and this has led to the hypothesis that element linking might be mediated by these interactions. A common tacit assumption is that these interactions result in response modulation which disturbs a local contrast code. We addressed this possibility by performing contrast discrimination experiments using two-dimensional arrays of multiple Gabor patches arranged either (i) vertically, (ii) in circles (coherent conditions), or (iii) randomly (incoherent condition), as well as for a single Gabor patch. In each condition, contrast increments were applied to either the entire test stimulus (experiment 1) or a single patch whose position was cued (experiment 2). In experiment 3, the texture stimuli were reduced to a single contour by displaying only the central vertical strip. Performance was better for the multiple-patch conditions than for the single-patch condition, but whether the multiple-patch stimulus was coherent or not had no systematic effect on the results in any of the experiments. We conclude that constrained local interactions do not interfere with a local contrast code for our suprathreshold stimuli, suggesting that, in general, this is not the way in which element linking is achieved. The possibility that interactions are involved in enhancing the detectability of contour elements at threshold remains unchallenged by our experiments.

Squaring the circle: the cultural relativity of 'good' shape

The Gestalt theorists of the early twentieth century proposed a psychological primacy for circles, squares and triangles over other shapes. They described them as 'good' shapes and the Gestalt premise has been widely accepted. Rosch (1973), for example, suggested that shape categories formed around these 'natural' prototypes irrespective of the paucity of shape terms in a language. Rosch found that speakers of a language lacking terms for any geometric shape nevertheless learnt paired-associates to these 'good' shapes more easily than to asymmetric variants. We question these empirical data in the light of the accumulation of recent evidence in other perceptual domains that language affects categorization. A cross-cultural investigation sought to replicate Rosch's findings with the Himba of Northern Namibia who also have no terms in their language for the supposedly basic shapes of circle, square and triangle. A replication of Rosch (1973) found no advantage for these 'good' shapes in the organization of categories. It was concluded that there is no necessary salience for circles, squares and triangles. Indeed, we argue for the opposite because these shapes are rare in nature. The general absence of straight lines and symmetry in the perceptual environment should rather make circles, squares and triangles unusual and, therefore, less likely to be used as prototypes in categorization tasks. We place shape as one of the types of perceptual input (in philosophical terms, 'vague') that is readily susceptible to effects of language variation.

Utilising online shopping environment attributes holistically to create competitive advantage

As more consumers shop online, it becomes crucial for marketers to know how online shopping environments (OSEs) can be used to gain competitive advantage. This dissertation aims to explain theoretically how OSE attributes work together holistically to produce desirable consumer responses, applying and extending a theory from the environmental psychology literature to the online context. Firstly, the study conceptualises OSEs as virtual environments which may be perceived and experienced both cognitively and affectively through a technology-mediated interaction with a computer screen. A multi-disciplinary approach identifies key characteristics of OSEs: they involve consumers; they are more complex than their offline counterparts; they are likely first apprehended holistically; and they can elicit high levels of emotions and cognition. Secondly, the research uses a gestalt approach and extends Kaplan and Kalan’s (1982) Preference Framework, taking account of the specific characteristics of OSEs, which one visits specifically to obtain product information. The results support the proposition that OSEs are perceived in terms of their Sense-making and Exploratory attributes. Thirdly, the research explains how OSE attributes work together to produce desirable consumer responses. As hypothesised, Exploratory potential produces both Hedonic and Utilitarian value, and both kinds of value contribute to Site commitment. An unexpected result is that Sense-making potential does not produce Utilitarian value directly, but only through the mediation of Exploratory potential. The research contributes to marketing theory by: (1) identifying ways the internet has changed the nature of the shopping experience; (2) extending Kaplan and Kaplan’s Preference Framework to explain how consumers perceive OSEs holistically; (3) identifying the distinction between page-level and site-level perceptions, and (4) distinguishing between different sources of information (marketer vs. non-marketer). Managerially, the research provides a model for marketers to conceive and design retail websites whose attributes work together to create competitive advantage.

Perceiving conspecifics as integrated body-gestalts is an embodied process

We investigated the effect of posture congruence on social perception. Specifically, we tested the hypothesis that completing "body gestalts," rather than being a purely visual process, is mediated by congruence in the postures of observer and stimulus. We developed novel stimuli showing a face and 2 hands that could be combined in various ways to form "body gestalts" implying different postures. In 3 experiments we found that imitative finger movements were consistently faster when the observer's posture matched the posture implied by the configuration of face and hands shown onscreen, suggesting that participants intuitively used their own body schema to "fill in the gaps" in the stimuli. Besides shaping how humans perceive others' bodies, embodied body-gestalt (eBG) completion may be an essential social and survival mechanism, for example, allowing for quick recovery from deceptive actions. It may also partly explain why humans subconsciously align themselves in everyday interactions: This might facilitate optimal corepresentation at higher, conscious levels. © 2012 American Psychological Association.

Die unvermeidlichen Sonette: Thomas Mann und Shakespeare

Thomas Mann empfand zeitlebens eine große Bewunderung für Shakespeare, die sich in der für seine literarische Arbeitsweise typischen Form der intertextuellen Bezugnahme auf die Werke des englischen Klassikers offenbart. Diese literarische Beziehung lässt sich anhand deutlicher Allusionen von den Anfängen bis ins Spätwerk verfolgen und kulminiert im Doktor Faustus. Innerhalb der Shakespeare-Anspielungen in diesem Roman nehmen Bezüge zu den Sonetten eine zentrale Rolle ein. Über Jahrzehnte hinweg zeigte sich Thomas Mann fasziniert von diesen Gedichten und setzte sich vielfach mit der in ihnen dargestellten Verbindung von hetero- und homosexueller Anziehung sowie der zentralen Thematik künstlerischer Verewigung auseinander. Diese beiden Themenkreise stehen auch hier im Vordergrund und bilden eine Folie für Aspekte der Beziehung zwischen Leverkühn und Rudi Schwerdtfeger, wobei Thomas Mann nicht nur Motive aus den Gedichten aufgriff, sondern ebenfalls auf die Entstehungssituation der Sonette und ihre vermutete autobiographische Dimension Bezug nahm: Leverkühn - seinerseits ein Selbstporträt seines Autors - nimmt so zugleich die Rolle einer Shakespeareschen Figur und die Position des englischen Dichters selbst ein. Darüber hinaus ist sich Thomas Manns Protagonist dieser literarischen Beziehungen in hohem Grade bewusst und gestaltet sie selbst entscheidend mit. Wie keine andere Mannsche Gestalt vor ihm greift Leverkühn als Hauptfigur in die Handlung ein, manipuliert und inszeniert das Romangeschehen anhand literarischer Vorlagen. Dadurch erhält Thomas Manns komplexe Verwendung von Intertextualität eine zusätzliche Dimension und nimmt in diesem späten Roman geradezu postmoderne Züge an.

Other Than a Citizen: Vernacular Poetics in Postwar America

Few symbols of 1950s-1960s America remain as central to our contemporary conception of Cold War culture as the iconic ranch-style suburban home. While the house took center stage in the Nixon/Khrushchev kitchen debates as a symbol of modern efficiency and capitalist values, its popularity depended largely upon its obvious appropriation of vernacular architecture from the 19th century, those California haciendas and Texas dogtrots that dotted the American west. Contractors like William Levitt modernized the historical common houses, hermetically sealing their porous construction, all while using the ranch-style roots of the dwelling to galvanize a myth of an indigenous American culture. At a moment of intense occupational bureaucracy, political uncertainty and atomized social life, the rancher gave a self-identifying white consumer base reason to believe they could master their own plot in the expansive frontier. Only one example of America’s mid-century love affair with commodified vernacular forms, the ranch-style home represents a broad effort on the part of corporate and governmental interest groups to transform the vernacular into a style that expresses a distinctly homogenous vision of American culture. “Other than a Citizen” begins with an anatomy of that transformation, and then turns to the work of four poets who sought to reclaim the vernacular from that process of standardization and use it to countermand the containment-era strategies of Cold War America.

In four chapters, I trace references to common speech and verbal expressivity in the poetry and poetic theory of Charles Olson, Robert Duncan, LeRoi Jones/Amiri Baraka and Gwendolyn Brooks, against the historical backdrop of the Free-Speech Movement and the rise of mass-culture. When poets frame nonliterary speech within the literary page, they encounter the inability of writing to capture the vital ephemerality of verbal expression. Rather than treat this limitation as an impediment, the writers in my study use the poem to dramatize the fugitivity of speech, emphasizing it as a disruptive counterpoint to the technologies of capture. Where critics such as Houston Baker interpret the vernacular strictly in terms of resistance, I take a cue from the poets and argue that the vernacular, rooted etymologically at the intersection of domestic security and enslaved margin, represents a gestalt form, capable at once of establishing centralized power and sparking minor protest. My argument also expands upon Michael North’s exploration of the influence of minstrelsy and regionalism on the development of modernist literary technique in The Dialect of Modernism. As he focuses on writers from the early 20th century, I account for the next generation, whose America was not a culturally inferior collection of immigrants but an imperial power, replete with economic, political and artistic dominance. Instead of settling for an essentially American idiom, the poets in my study saw in the vernacular not phonetic misspellings, slang terminology and fragmented syntax, but the potential to provoke and thereby frame a more ethical mode of social life, straining against the regimentation of citizenship.

My attention to the vernacular argues for an alignment among writers who have been segregated by the assumption that race and aesthetics are mutually exclusive categories. In reading these writers alongside one another, “Other than a Citizen” shows how the avant-garde concepts of projective poetics and composition by field develop out of an interest in black expressivity. Conversely, I trace black radicalism and its emphasis on sociality back to the communalism practiced at the experimental arts college in Black Mountain, North Carolina, where Olson and Duncan taught. In pressing for this connection, my work reveals the racial politics embedded within the speech-based aesthetics of the postwar era, while foregrounding the aesthetic dimension of militant protest.

Not unlike today, the popular rhetoric of the Cold War insists that to be a citizen involves defending one’s status as a rightful member of an exclusionary nation. To be other than a citizen, as the poets in my study make clear, begins with eschewing the false certainty that accompanies categorical nominalization. In promoting a model of mutually dependent participation, these poets lay the groundwork for an alternative model of civic belonging, where volition and reciprocity replace compliance and self-sufficiency. In reading their lines, we become all the more aware of the cracks that run the length of our load-bearing walls.

Settlement characteristics of quartz grains on certain sediment surface forms of tidal beaches along the Baltic and Wadden Sea

Sind in einem Sediment, das unter dem Einfluß einer Strömung abgelagert wurde, richtungsanzeigende Indikatoren vorhanden, so werden sie je nach den momentanen Bedingungen, die zur Zeit der Sedimentation herrschten, ein mehr oder weniger gutes Abbild der Strömungsverhältnisse liefern. Zahlreich sind Strömungsanzeiger organischen Ursprungs, wie z. B. Molluskenschalen u. a. Doch auch anorganische Partikel in Psephiten und Psammiten lassen häufig in ihrer Lagerung eine Abhängigkeit von der Strömungsrichtung erkennen: sie sind "geregelt". Die Autoren der verschiedenen Arbeiten, in denen Regelungen in klastischen Sedimenten untersucht wurden, gingen von der Tatsache aus, daß viele Sedimentpartikel statistisch gesehen keine Kugelform, sondern eine längliche Gestalt besitzen. Die langen Achsen dieser länglich geformten Sedimentkörner werden im folgenden als "Langachsen" bezeichnet. In Sanden sind es vor allem Quarzkörner von annähernd zylindrischer oder ellipsoidischer Form ("Langquarze"), die geeignet sind, durch die Lage ihrer Langachsen strömungsbedingte Regelungen anzuzeigen. Mit der Orientierung solcher Langquarze in marinen und fluviatilen Sanden haben sich bisher vorwiegend amerikanische Autoren befaßt. So untersuchten z. B. Dapples & Rominger (1945) die Sandsohle eines künstlichen Gerinnes. Sie stellten fest, daß die Hauptorientierungsrichtung der Langquarze mit der Strömungsrichtung des fließenden Wassers zusammenfiel. Dabei zeigte das spitze Ende tropfenförmiger ("polarer") Quarze stromab und das stumpfe Ende stromauf. Nanz (1955) maß die Langachsenrichtungen von Langquarzen in Sanden des nassen und trockenen Strandes von Texas und Florida und fand, daß sich diese Achsen vorwiegend parallel zur Auf- und Ablaufrichtung der Wellen und damit senkrecht zum Streichen der Strandlinie einregeln. Curray (1956 b) beobachtete die gleiche Regelung. Er wies ferner darauf hin, daß in Strandwällen und Strandhaken die bevorzugte Richtung der Langquarze senkrecht zum Streichen des Sedimentkörpers liegt. Zahlreiche weitere Autoren beschäftigten sich ebenfalls mit den Fragen der Langquarzregelung, so Schwarzacher (1951), Griffith & Rosenfeld (1953), Vollbrecht (1953), Rusnak (1956), Wendler (1956), Sriramadas (1957). Ganz allgemein war das Ergebnis aller dieser Untersuchungen, daß die aus einer Strömung abgelagerten Langquarze eine Regelung parallel zur Strömungsrichtung zeigen. Eigene Untersuchungen und Überlegungen ergaben, daß die bisher veröffentlichten Ergebnisse und die an sie angeschlossenen Vorstellungen z. T. bestätigt werden können, jedoch z. T. auch erheblich modifiziert werden müssen.

Una experiencia de Arteterapia con mujeres con sobrepeso y obesidad

El presente artículo trata del proceso y desarrollo de una experiencia de aplicación de arteterapia con mujeres adultas en el contexto de un programa interdisciplinario de cambio de hábitos para el tratamiento de personas con sobrepeso y obesidad. Son además presentados brevemente, desde distintos autores, algunos antecedentes y puntos de relación entre el enfoque gestáltico y el arte-terapia, sirviendo como discusión que contextualiza la experiencia.

La imagen de España en la novela de viaje "Cabo de Gata" de Eugen Ruge

Este artículo presenta un análisis de la imagen de España trazada en la novela Cabo de Gata (2013). Con ello se toma en consideración un género que, hasta ahora, ha recibido poca atención en la investigación de la imagen de España en la literatura de viajes alemana. El foco del análisis lo constituyen tanto el motivo del viaje como la percepción y representación de lo ajeno español. Por último, el análisis narratológico de los diversos aspectos seleccionados de la técnica narrativa nos servirá para delimitar la repercusión imagológica de la novela.

Lucrecio, "De rerum natura": Sentido y coherencia del prólogo

El prólogo del De rerum natura de Lucrecio (1.1-148) parece ser un tema gastado: ha sido tratado decenas de veces tanto por su excelente calidad como por los problemas que plantea. Pero esperamos poder dar un nuevo sentido y solución a ambos aspectos. En primer lugar, el himno a Venus no es una mera convención, sino que respira sentimiento religioso; Venus no personifica a la naturaleza, sino al placer y la felicidad y ni la hegemonía que se dice ejerce Venus, ni las plegarias que contiene el himno contradicen la teología epicúrea. Todavía más, nos parece que el himno constituye una auténtica epifanía religiosa muy propia de la teología epicúrea. En segundo lugar, suponiendo que el autor ha tomado como tema compartido los schemata o grados de dificultad de la intellectio retórica en el texto de 1.50-148, se intentan solucionar las dificultades de coherencia del texto.

Neue Erkenntnisse zum geologischen Bau des “Kleinen Berges” zwischen Bad Laer und Bad Rothenfelde (südwestliches Niedersachsen) aufgrund der Ergebnisse der Tiefbohrung ‘Bad Laer Z 1’

The 2108,0 m deep exploration well "Bad Laer Z 1" (1993) has been carried down in order to investigate the deeper ground lying beneath the "Kleiner Berg" anticline, concerning the existence of reservoir beds which was postulated according to preceeding seismic investigations. This aim of the borehole was not attained, because no formations have been drilled suitable for the construction of an artificial gas reservoir. On the other hand the bore hole revealed a great amount of new regional geologic, stratigraphic, mining, coalification and coal bed gas data. Therefore, from a scientific point of view the exploration well must be considered successful. After the drilling of a stratigraphic succession, mainly consisting of cretaceous "Pläner" limestones (from Albian to Turonian), surprisingly in a depth of only 439 m productive Upper Carboniferous rocks formed by the Lembeck beds of uppermost Westfalian C have been found. In addition to this discovery, nearly the whole Westfalian C and B reaching down to the coal bed "Katharina" at the Westfalian A boundary were drilled through revealing over 66 partly minable coal beds. Investigations of the coalification pattern showed a more or less continuous increase of the rank gradient with depth reaching from the step of gas flame coal down to 700 m over that of gas coal down to 1600 m to that of fat coal down to the bottom of the borehole. An additional surprising result of the exploration well was the observation, that immediately below the base of the Cretaceous the coal beds revealed a high gas content without the presence of a desorption zone. This result must also be considered as success of the drilling with respect to the strong interest in a potential utilization of coal bed methane nowadays.

The twentieth century jazz piano trio: the rise of an iconic jazz paradigm

Considerando a gravação de 1947 The Bud Powell Trio como a gravação referência de trio de piano de jazz moderno, esta tese centra-se no surgimento e evolução do trio de jazz moderno cujo líder é pianista. Começando por apresentar, uma resenha dos estilos e técnicas para piano de da época pre-Powell, esta tese investiga a génese dos trios de piano jazz e examina três dos mais influeciais pianostas de jazz e lideres dos mais legendários trios de piano jazz modernos: Bud Powell, Bill Evans e Keith Jarrett. Esta tese também abordará o paradoxo inerente a um sistema democrático - a expressão própria do individuo, em justaposição com a responsabilidade para com o todo – e a sua inequivoca analogia com o gestalt do trio de piano de jazz moderno. Desde a primeira gravação de um trio de jazz com pianista como líder em 1935, o trio de jazz moderno, evoluiu tornando-se um exemplo de democracia – um contexto de igualdade em que as funções rítmicas, harmónicas, e melódicas estão igualmente distribuídas entre os três instrumentistas, que são ao mesmo tempo solistas e acompanhadores. Esta tese sublinha a eficácia do trio de jazz moderno – o seu início, e porque subsiste – baseado na sua força e beleza estética; ABSTRACT: THE TWENTIETH CENTURY JAZZ PIANO TRIO – The Rise of an Iconic Jazz Paradigm by Susan Muscarella Designating Bud Powell’s 1947 recording, The Bud Powell Trio, as the modern jazz piano trio benchmark, here, this thesis traces the emergence and evolution of the pianistled, piano-bass-drums-comprised modern jazz piano trio. Beginning with a general overview of pre-Powell jazz piano styles and techniques, this thesis investigates the earliest, most salient pre-Powell jazz piano trios, and examines three seminal modern jazz pianists and leaders of legendary modern jazz piano trios, Bud Powell, Bill Evans and Keith Jarrett. This thesis also brings to the fore the paradox inherent in a democratic system – individual self-expression juxtaposed with responsibility to the whole – and its unequivocal analogy to the modern jazz piano trio gestalt. From the earliest recording of a primarily piano-dominated piano-bass-drums-comprised jazz piano trio in 1935, the modern jazz piano trio has evolved to become a paragon of democracy – an egalitarian playing field in which rhythmic, harmonic and melodic roles are evenly distributed among all three instrumentalists who have come to serve as both soloists and accompanists.

Die renaissance der fachwerkbrücke

Nach dem Zweiten Weltkrieg war die Fachwerkbrücke in Westeuropa über drei Jahr­zehnte lang quasi von der Bildfli:iche verschwunden. Erst Mitte der 1980er Jahre wird sie dank zweier Ansatze, die auf verschiedenen technischen Entwicklungen beruhen, wieder­entdeckt. In Deutschland findet die Fachwerkbrücke im Verbundbrückenbau im Bereich des Hochgeschwindigkeitseisenbahnbaus erneut Verwendung. In Frankreich erfolgt die Annaherung an die Fachwerkbrücke über die Weiterentwicklung der Betonquerschnitte mit aulsen liegender Vorspannung und Gewichtseinsparungen in den Tragwerksstegen. Angeregt durch die Veroffentlichung von Artikeln über herausragende Bauten breitet sich das Fachwerk in den 1990er Jahren in ganz Europa aus. Zu Beginn des 21. Jahrhunderts kommt das Raumfachwerk mit hohlem Brückenquerschnitt auf, das die Moglichkeit bietet, den Querschnitt zu begehen bzw. zu befahren, und so die Durchdringung der statischen Konstruktion beim Überqueren der Brücke zu einem Erlebnis zu machen. Das Fachwerk ist zur Überbrückung grolser Spannweiten und für Experimente mit neuen Querschnitten bestens geeignet und bietet neue Moglichkeiten hinsichtlich Gestalt und Ausdruck.

Os desafios do designer contemporâneo

Dissertação para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.