Nicolau e Nicolina, 90 anos de travessuras

Tomámos a rubrica Diabruras de Nicolau, mais tarde Nicolau e Nicolina, do primeiro suplemento infantil de grande fôlego em Portugal – o Notícias Miudinho do Diário de Notícias, – e propusemo-nos criar cinco Livros- -de-Montar, um para cada fase do seu percurso, entre 1924 e 1933. Observámos o percurso das publicações infantis em Portugal, particularmente nas décadas dos nossos protagonistas, e tirámos ilações dos seus períodos áureos; pesquisámos suportes e mecanismos em papel recortado e todo o tipo de livros, no limiar do conceito. Tentámos perceber como poderíamos, sem recorrer a mão-de-obra estrangeira, criar livros pop-up em Portugal, a baixo custo, e contribuir para melhorar dois pontos fracos da cultura de hoje, que o nosso exercício na docência verifica diariamente: desenvolver competências ao nível da motricidade fina, perceção do espaço e gosto pela leitura; e fomentar momentos de partilha “analógica” entre gerações, cuja falta é hoje gritante; ABSTRACT: NICOLAU E NICOLINA, 90 years of pranks Taking as a starting Diabruras de Nicolau, later Nicolau e Nicolina, the first children’s supplement of grand success in Portugal – the Notícias Miudinho of Diario de Noticias, - we proposed to create five books to assemble, one for each phase of its course, between 1924 and 1933. We analysed the course of children’s publications in Portugal, particularly in the decades of our protagonists, taking conclusions of its golden periods; we searched for supports and mechanisms in cut paper and all kind of books, in the concept’s threshold. We tried to understand how we could create, without resorting to cheap labour from around the globe, pop-up books in Portugal, at low cost, and also to contribute to improving two weak points in today’s culture, that we as teachers face every day: to develop delicate motor skills, space perception and a taste for reading; and to encourage moments of analogical closeness between generations, whose absence is striking today.

Étude des mécanismes de localisation auditive et de leur plasticité dans le cortex auditif humain

Pouvoir déterminer la provenance des sons est fondamental pour bien interagir avec notre environnement. La localisation auditive est une faculté importante et complexe du système auditif humain. Le cerveau doit décoder le signal acoustique pour en extraire les indices qui lui permettent de localiser une source sonore. Ces indices de localisation auditive dépendent en partie de propriétés morphologiques et environnementales qui ne peuvent être anticipées par l'encodage génétique. Le traitement de ces indices doit donc être ajusté par l'expérience durant la période de développement. À l’âge adulte, la plasticité en localisation auditive existe encore. Cette plasticité a été étudiée au niveau comportemental, mais on ne connaît que très peu ses corrélats et mécanismes neuronaux. La présente recherche avait pour objectif d'examiner cette plasticité, ainsi que les mécanismes d'encodage des indices de localisation auditive, tant sur le plan comportemental, qu'à travers les corrélats neuronaux du comportement observé. Dans les deux premières études, nous avons imposé un décalage perceptif de l’espace auditif horizontal à l’aide de bouchons d’oreille numériques. Nous avons montré que de jeunes adultes peuvent rapidement s’adapter à un décalage perceptif important. Au moyen de l’IRM fonctionnelle haute résolution, nous avons observé des changements de l’activité corticale auditive accompagnant cette adaptation, en termes de latéralisation hémisphérique. Nous avons également pu confirmer l’hypothèse de codage par hémichamp comme représentation de l'espace auditif horizontal. Dans une troisième étude, nous avons modifié l’indice auditif le plus important pour la perception de l’espace vertical à l’aide de moulages en silicone. Nous avons montré que l’adaptation à cette modification n’était suivie d’aucun effet consécutif au retrait des moulages, même lors de la toute première présentation d’un stimulus sonore. Ce résultat concorde avec l’hypothèse d’un mécanisme dit de many-to-one mapping, à travers lequel plusieurs profils spectraux peuvent être associés à une même position spatiale. Dans une quatrième étude, au moyen de l’IRM fonctionnelle et en tirant profit de l’adaptation aux moulages de silicone, nous avons révélé l’encodage de l’élévation sonore dans le cortex auditif humain.

Space and Motion Perception and Discomfort in Air Travel

RAMOS RT, MATTOS DA, REBOUCAS ITS, RANVAUD RD. Space and motion perception and discomfort in air travel. Aviat Space Environ Med 2012; 83:1162-6. Introduction: The perception of comfort during air trips is determined by several factors. External factors like cabin design and environmental parameters (temperature, humidity, air pressure, noise, and vibration) interact with individual characteristics (anxiety traits, fear of flying, and personality) from arrival at the airport to landing at the destination. In this study, we investigated the influence of space and motion discomfort (SMD), fear of heights, and anxiety on comfort perception during all phases of air travel. Methods: We evaluated 51 frequent air travelers through a modified version of the Flight Anxiety Situations Questionnaire (FAS), in which new items were added and where the subjects were asked to report their level of discomfort or anxiety (not fear) for each phase of air travel (Chronbach's alpha = 0.974). Correlations were investigated among these scales: State-Trait Anxiety Inventory (STAB, Cohen's Acrophobia Questionnaire, and the Situational Characteristics Questionnaire (SitQ, designed to estimate SMD levels). Results: Scores of SitQ correlated with discomfort in situations involving space and movement perception (Pearson's rho = 0.311), while discomfort was associated with cognitive mechanisms related to scores in the anxiety scales (Pearson's rho = 0.375). Anxiety traits were important determinants of comfort perception before and after flight, while the influence of SMD was more significant during the time spent in the aircraft cabin. Discussion: SMD seems to be an important modulator of comfort perception in air travel. Its influence on physical well being and probably on cognitive performance, with possible effects on flight safety, deserves further investigation.

The space of make: A topological account of the studio

Approaches to art-practice-as-research tend to draw a distinction between the processes of creative practice and scholarly reflection. According to this template, the two sites of activity – studio/desk, work/writing, body/mind – form the ‘correlative’ entity known as research. Creative research is said to be produced by the navigation of world and thought: spaces that exist in a continual state of tension with one another. Either we have the studio tethered to brute reality while the desk floats free as a site for the fluid cross-pollination of texts and concepts. Or alternatively, the studio is characterized by the amorphous, intuitive play of forms and ideas, while the desk represents its cartography, mapping and fixing its various fluidities. In either case, the research status of art practice is figured as a fundamentally riven space. However, the nascent philosophy of Speculative Realism proposes a different ontology – one in which the space of human activity comprises its own reality, independent of human perception. The challenge it poses to traditional metaphysics is to rethink the world as if it were a real space. When applied to practice-led research, this reconceptualization challenges the creative researcher to consider creative research as a contiguous space – a topology where thinking and making are not dichotomous points but inflections in an amorphous and dynamic field. Instead of being subject to the vertical tension between earth and air, a topology of practice emphasizes its encapsulated, undulating reality – an agentive ‘object’ formed according to properties of connectedness, movement and differentiation. Taking the central ideas of Quentin Meillassoux and Graham Harman as a point of departure, this paper will provide a speculative account of the interplay of spatialities that characterise the author’s studio practice. In so doing, the paper will model the innovative methodological potential produced by the analysis of topological dimensions of the studio and the way they can be said to move beyond the ‘geo-critical’ divide.

Fuzzy-DL perception for multi-robot systems

For future planetary robot missions, multi-robot-systems can be considered as a suitable platform to perform space mission faster and more reliable. In heterogeneous robot teams, each robot can have different abilities and sensor equipment. In this paper we describe a lunar demonstration scenario where a team of mobile robots explores an unknown area and identifies a set of objects belonging to a lunar infrastructure. Our robot team consists of two exploring scout robots and a mobile manipulator. The mission goal is to locate the objects within a certain area, to identify the objects, and to transport the objects to a base station. The robots have a different sensor setup and different capabilities. In order to classify parts of the lunar infrastructure, the robots have to share the knowledge about the objects. Based on the different sensing capabilities, several information modalities have to be shared and combined by the robots. In this work we propose an approach using spatial features and a fuzzy logic based reasoning for distributed object classification.

Imagining Some Space

Some texts and a performance story. All motivated by the author’s interest in space, in this that surrounds, and that interest, in turn, originating from the author’s earlier studies in cultural anthropology, in observing and experiencing the surrounding animate and inanimate world. The texts in this thesis are alternating between academic and creative writing. They are texts written on a specific site on Suomenlinna island in Helsinki, Finland, as part of the performance ”Beyond the Wind in Front of Me / A Space Ship Journey” story or prologues to that, and the more academic ones supporting them or growing out of them, being accompanied also by the thoughts and practices of others. The main research questions and themes being How to perceive this that surrounds me? What is space, what does it consist of? Is it something that simply surrounds me? Am I a part of it or is it a part of me? How can a space be researched? How to activate a space? What kind of mental images do spaces/places create/uncover/open up in us? How to animate/make alive those images? Body giving meaning to space via actions created by the body. Physical environment contra emotional, imaginary, visionary one. Presence in a space/place. Physical and mental presence. Presence in memories.

Divergencies of Perception : The Possibilities of Merleau-Pontian Phenomenology in Analyses of Contemporary Art

Maurice Merleau-Ponty (1908-1961) has been known as the philosopher of painting. His interest in the theory of perception intertwined with the questions concerning the artist s perception, the experience of an artwork and the possible interpretations of the artwork. For him, aesthetics was not a sub-field of philosophy, and art was not simply a subject matter for the aesthetic experience, but a form of thinking. This study proposes an opening for a dialogue between Merleau-Pontian phenomenology and contemporary art. The thesis examines his phenomenology through certain works of contemporary art and presents readings of these artworks through his phenomenology. The thesis both shows the potentiality of a method, but also engages in the critical task of finding the possible limitations of his approach. The first part lays out the methodological and conceptual points of departure of Merleau-Ponty s phenomenological approach to perception as well as the features that determined his discussion on encountering art. Merleau-Ponty referred to the experience of perceiving art using the notion of seeing with (voir selon). He stressed a correlative reciprocity described in Eye and Mind (1961) as the switching of the roles of the visible and the painter. The choice of artworks is motivated by certain restrictions in the phenomenological readings of visual arts. The examined works include paintings by Tiina Mielonen, a photographic work by Christian Mayer, a film by Douglas Gordon and Philippe Parreno, and an installation by Monika Sosnowska. These works resonate with, and challenge, his phenomenological approach. The chapters with case studies take up different themes that are central to Merleau-Ponty s phenomenology: space, movement, time, and touch. All of the themes are interlinked with the examined artworks. There are also topics that reappear in the thesis, such as the notion of écart and the question of encountering the other. As Merleau-Ponty argued, the sphere of art has a particular capability to address our being in the world. The thesis presents an interpretation that emphasises the notion of écart, which refers to an experience of divergence or dispossession. The sudden dissociation, surprise or rupture that is needed in order for a meeting between the spectator and the artwork, or between two persons, to be possible. Further, the thesis suggests that through artworks it is possible to take into consideration the écart, the divergence, that defines our subjectivity.

The biological sense of smell: olfactory search behavior and a metabolic view for olfactory perception

Part I of the thesis describes the olfactory searching and scanning behaviors of rats in a wind tunnel, and a detailed movement analysis of terrestrial arthropod olfactory scanning behavior. Olfactory scanning behaviors in rats may be a behavioral correlate to hippocampal place cell activity.

Part II focuses on the organization of olfactory perception, what it suggests about a natural order for chemicals in the environment, and what this in tum suggests about the organization of the olfactory system. A model of odor quality space (analogous to the "color wheel") is presented. This model defines relationships between odor qualities perceived by human subjects based on a quantitative similarity measure. Compounds containing Carbon, Nitrogen, or Sulfur elicit odors that are contiguous in this odor representation, which thus allows one to predict the broad class of odor qualities a compound is likely to elicit. Based on these findings, a natural organization for olfactory stimuli is hypothesized: the order provided by the metabolic process. This hypothesis is tested by comparing compounds that are structurally similar, perceptually similar, and metabolically similar in a psychophysical cross-adaptation paradigm. Metabolically similar compounds consistently evoked shifts in odor quality and intensity under cross-adaptation, while compounds that were structurally similar or perceptually similar did not. This suggests that the olfactory system may process metabolically similar compounds using the same neural pathways, and that metabolic similarity may be the fundamental metric about which olfactory processing is organized. In other words, the olfactory system may be organized around a biological basis.

The idea of a biological basis for olfactory perception represents a shift in how olfaction is understood. The biological view has predictive power while the current chemical view does not, and the biological view provides explanations for some of the most basic questions in olfaction, that are unanswered in the chemical view. Existing data do not disprove a biological view, and are consistent with basic hypotheses that arise from this viewpoint.

The Effects of Visual Object Size in The Depth Perception in KM Mouse

Whether mice perceive the depth of space dependent on the visual size of object targets was explored when visual cues such as perspective and partial occlusion in space were excluded. A mouse was placed on a platform the height of which is adjustable. The platform located inside a box in which all other walls were dark exception its bottom through that light was projected as a sole visual cue. The visual object cue was composed of 4x4 grids to allow a mouse estimating the distance of the platform relative to the grids. Three sizes of grids reduced in a proportion of 2/3 and seven distances with an equal interval between the platform and the grids at the bottom were applied in the experiments. The duration of a mouse staying on the platform at each height was recorded when the different sizes of the grids were presented randomly to test whether the Judgment of the mouse for the depth of the platform from the bottom was affected by the size information of the visual target. The results from all conditions of three object sizes show that time of mice staying on the platform became longer with the increase in height. In distance of 20 similar to 30 cm, the mice did not use the size information of a target to judge the depth, while mainly used the information of binocular disparity. In distance less than 20 cm or more than 30 cm, however, especially in much higher distance 50 cm, 60 cm and 70 cm, the mice were able to use the size information to do so in order to compensate the lack of binocular disparity information from both eyes. Because the mice have only 1/3 of the visual field that is binocular. This behavioral paradigm established in the current study is a useful model and can be applied to the experiments using transgenic mouse as an animal model to investigate the relationships between behaviors and gene functions.

Laminar Cortical Dynamics of Visual Form and Motion Interactions During Coherent Object Motion Perception

How do visual form and motion processes cooperate to compute object motion when each process separately is insufficient? A 3D FORMOTION model specifies how 3D boundary representations, which separate figures from backgrounds within cortical area V2, capture motion signals at the appropriate depths in MT; how motion signals in MT disambiguate boundaries in V2 via MT-to-Vl-to-V2 feedback; how sparse feature tracking signals are amplified; and how a spatially anisotropic motion grouping process propagates across perceptual space via MT-MST feedback to integrate feature-tracking and ambiguous motion signals to determine a global object motion percept. Simulated data include: the degree of motion coherence of rotating shapes observed through apertures, the coherent vs. element motion percepts separated in depth during the chopsticks illusion, and the rigid vs. non-rigid appearance of rotating ellipses.