Humans Fall for Optical Illusions, But Do Cats?

Peripheral Drift Illusion

Most “opti­cal illu­sions” are not real­ly opti­cal. They have less to do with the way the eyes work than with the way the brain process­es the infor­ma­tion sent to it from the eyes. For this rea­son, many sci­en­tists pre­fer to call them visu­al illu­sions. So if visu­al illu­sions are a trick of the brain, and human brains dif­fer from the brains of oth­er ani­mals, does that mean our visu­al illu­sions are unique­ly human?

The answer would appear to be no, judg­ing from the cute video below from YouTube. The kit­ten is falling for the “rotat­ing snakes illu­sion” devel­oped in 2003 by Japan­ese psy­chol­o­gist Akiyoshi Kitao­ka. The rotat­ing snakes (click here to view in a larg­er for­mat) are an exam­ple of the â€śperiph­er­al drift illu­sion,” a phe­nom­e­non first described in 1999 by Joce­lyn Faubert and Andrew Her­bert of the Uni­ver­si­ty of Mon­tre­al. Cats are very adept at per­ceiv­ing motion in their periph­er­al vision. It helps them elude preda­tors and home in on their own prey. But this kit­ty is thrown for a loop by the illu­so­ry motion of the rotat­ing snakes.

The periph­er­al drift illu­sion occurs when cir­cu­lar­ly repeat­ing fig­ures with reg­u­lar saw­tooth pat­terns of light and dark are viewed in the periph­ery. You’ll find that if you move your eyes around the var­i­ous cir­cles, for exam­ple going from cen­ter point to cen­ter point, the cir­cles in your periph­er­al vision will appear to be mov­ing but the one you are focused on will not. If you stop mov­ing your eyes, a moment lat­er the cir­cles will all appear to stop mov­ing. In the abstract of their 1998 paper (open PDF), Faubert and Her­bert write:

Illu­so­ry motion is per­ceived in a dark-to-light direc­tion, but only when one’s gaze is direct­ed to dif­fer­ent loca­tions around the stim­u­lus, a point out­side the dis­play is fix­at­ed and the observ­er blinks, or when the stim­u­lus is sequen­tial­ly dis­played at dif­fer­ent loca­tions whilst the observ­er fix­ates one point. We pro­pose that the illu­sion is pro­duced by the inter­ac­tion of three fac­tors: (i) intro­duc­ing tran­sients as a result of eye move­ments or blinks; (ii) dif­fer­ing laten­cies in the pro­cess­ing of lumi­nance; and (iii) spa­tiotem­po­ral inte­gra­tion of the dif­fer­ing lumi­nance sig­nals in the periph­ery.

via Stephen Law

Font Based on Sigmund Freud’s Handwriting Coming Courtesy of Successful Kickstarter Campaign

Doc­tor, what does it mean if you dream of cre­at­ing a font of Freud’s hand­writ­ing?

This is exact­ly what Ger­man typog­ra­ph­er Har­ald Geisler has in mind, and, in the spir­it of self-actu­al­iza­tion, he’s fund­ing the project on Kick­starter. His charis­ma is such that he’s already raised over eight times the orig­i­nal $1500 goal that will allow him to trav­el to Vien­na, where he will cre­ate the type­face in a bor­rowed apart­ment with­in walk­ing dis­tance from Freud’s for­mer home at Berggasse 19. That address is now home to the Sig­mund Freud Muse­um, where the roman­ti­cal­ly-mind­ed Geisler plans to vis­it the hard copies of the eight let­ters from which his alpha­bet will be assem­bled.

Don’t let the pro­jec­t’s ful­ly-in-the-black sta­tus keep you from vis­it­ing its fundrais­ing page. In addi­tion to being an inad­ver­tent tuto­r­i­al on the ele­ments of a top-notch Kick­starter cam­paign, it also pro­vides some inter­est­ing infor­ma­tion with regard to pen­man­ship, font cre­ation, and the dif­fer­ence between Kur­rent, the Ger­man-style script Freud learned as a school­boy, and the Latin-style cur­sive that was stan­dard among his North Amer­i­can patients.

Geisler says it cracks him up to imag­ine some­one jot­ting a note to his or her shrink in Freud’s hand­writ­ing. Per­haps those of us not cur­rent­ly under the care of a psy­chi­a­try pro­fes­sion­al could use it to write our moth­ers.

Relat­ed Con­tent:

Sig­mund Freud Speaks: The Only Known Record­ing of His Voice, 1938

Jean-Paul Sartre Writes a Script for John Huston’s Film on Freud (1958)

Sig­mund Freud’s Home Movies: A Rare Glimpse of His Pri­vate Life

Ayun Hal­l­i­day has nev­er regret­ted her child­ish deci­sion to ape her moth­er’s high­ly idio­syn­crat­ic hand.

Dan Ariely’s MOOC, “A Beginner’s Guide to Irrational Behavior,” Starts Monday

Back in Novem­ber we gave you a heads up on A Begin­ner’s Guide to Irra­tional Behav­ior, a MOOC being cre­at­ed by Dan Ariely. If you’re a fre­quent vis­i­tor to our site, you know that Ariely is a pro­fes­sor of psy­chol­o­gy and behav­ioral eco­nom­ics at Duke Uni­ver­si­ty, who has pre­vi­ous­ly explained by why well-inten­tioned peo­ple lie, and why CEOs repeat­ed­ly get out­sized bonus­es that have no basis in ratio­nal­i­ty. Ariely’s six-week course final­ly begins tomor­row (Mon­day the 25th), so, before you miss the boat, reserve your free seat today.

A Begin­ner’s Guide to Irra­tional Behav­ior now appears on our  list of 300 Free MOOCs from Great Uni­ver­si­ties.

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Can’t Get That Song Out of My Head: An Animation of a Psychological Phenomenon We All Know

You know what it feels like when, no mat­ter how hard you try to shake it, you can’t get that song out of your head. Psy­chol­o­gists have a tech­ni­cal name for this phe­nom­e­non. They call it an “ear­worm,” refer­ring to those songs that “arrive with­out per­mis­sion and refuse to leave when we tell them to.” In the video above, the Dan­ish design agency Ben­ny Box has cre­at­ed a short ani­mat­ed film — called Jazz that nobody asked for â€” that serves as an “ode to all those unwant­ed songs out there, that have nowhere to go.” The music taunt­ing the main char­ac­ter is “Quak­er City Jazz” (1937) by Jan Savitt and His Top Hat­ters Orches­tra. If you’ve had your own ear­worm — your own mad­den­ing sound­track for this film — let us know in the com­ments sec­tion below.

Relat­ed Con­tent:

Clas­sic Jazz Album Cov­ers Ani­mat­ed, or the Re-Birth of Cool

Ker­mit the Frog Learns to Love Jazz Through “Visu­al Think­ing” (1959)

Jazz Toons: Allen Mezquida’s Jour­ney from Bebop to Smigly

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Jacques Lacan Talks About Psychoanalysis with Panache (1973)

Both psy­cho­analy­sis and psy­chother­a­py act only through words. Yet they are in con­flict. How so? There we have the ques­tion posed to psy­cho­an­a­lyst, psy­chi­a­trist, and world-famous pub­lic intel­lec­tu­al Jacques Lacan in the video above, a clip from a script­ed qua­si-inter­view called Tele­vi­sion whose answers play like his famous lec­tures. Watch it, or watch our pre­vi­ous­ly fea­tured video of Lacan giv­ing a talk, and you’ll expe­ri­ence one qual­i­ty that made him world-famous. Few oth­ers could com­bine such high-flown sub­ject mat­ter with such the­atri­cal­ly emphat­ic ora­tor­i­cal abil­i­ty — an abil­i­ty you can sense even if you don’t under­stand French. For­tu­nate­ly, sub­ti­tles have been pro­vid­ed, offer­ing Anglo­phones a chance to under­stand what con­nec­tions the man saw between the uncon­scious, lan­guage, Freud, sex­u­al rela­tions, and com­e­dy.

“There are, inso­far as the uncon­scious is impli­cat­ed, two sides pre­sent­ed by the struc­ture, the struc­ture which is lan­guage,” Lacan begins. “The side of mean­ing, the first side, the side we would iden­ti­fy as that of analy­sis, which pours out a flood of mean­ing to float the sex­u­al boat.” These remarks come pre-writ­ten in the script of Tele­vi­sion, some­thing between a con­ver­sa­tion and a play that grew out of Jacques-Alain Miller’s failed attempt to film a tra­di­tion­al inter­view of the psy­cho­an­a­lyt­ic lumi­nary. “After every cut, when it was time to start up again, Lacan shift­ed a bit in his dis­course,” Miller wrote in Micro­scopia: An Intro­duc­tion to the Read­ing of Tele­vi­sion. “Each time he gave an addi­tion­al twist to his reflec­tions which were unfold­ing there, under the spot­lights, thwart­ing any chance of bridge-build­ing. We stopped after two hours; I gave him in writ­ing a list of ques­tions; and he wrote [Tele­vi­sion] in about two weeks’ time. I saw him every evening and he gave me the day’s man­u­script pages; then he read or act­ed out â€” with a few impro­vised vari­a­tions â€” the writ­ten text. He made a spring-board of this false start.”

Relat­ed con­tent:

Jacques Lacan Speaks; Zizek Pro­vides Free Cliffs Notes

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. Fol­low him on Twit­ter at @colinmarshall.

The Power of “Outrospection” — A Way of Life, A Force for Social Change — Explained with Animation

Here at Open Cul­ture, we can’t resist the RSA Ani­mate video series, cre­at­ed by the Roy­al Soci­ety for the Encour­age­ment of Arts, Man­u­fac­tures, and Com­merce. Its twitchy but super­nat­u­ral­ly pre­cise hand has illus­trat­ed talks by Daniel Pink, Sir Ken Robin­son, Bar­bara Ehren­re­ichSlavoj Ĺ˝iĹľek, Steven Pinker, and Dan Ariely. This newest RSA Ani­mate pro­duc­tion may pro­vide you an intro­duc­tion not just to a ris­ing thinker, but to a new con­cept. “Writer on the art of liv­ing” Roman Krz­nar­ic, accom­pa­nied by the quick draw­ing of Andrew Park, wants to tell you about some­thing called “out­ro­spec­tion.” Con­sid­er it less an entire­ly new prac­tice than a fresh way of think­ing about how to devel­op an old human capac­i­ty: empa­thy. He finds empa­thy not a “nice, soft, fluffy social con­cept,” but some­thing pow­er­ful and poten­tial­ly dan­ger­ous, a fuel for rev­o­lu­tions of all kinds.

For an exam­ple of empa­thy that looks to him pro­to-out­ro­spec­tive, Krz­nar­ic cites George Orwell, author of 1984 and Ani­mal Farm. His plunge into the world of urban pover­ty — the deep­est kind of first-hand research — to write Down and Out in Paris and Lon­don, com­ing to know, befriend, and work along­side the down-and-out them­selves, makes him “one of the great empath­ic adven­tur­ers of the 20th cen­tu­ry.” This line of thought con­nects Orwell’s active social curios­i­ty to empa­thy as a poten­tial­ly col­lec­tive force; we even hear a call for new, empa­thy-ori­ent­ed social insti­tu­tions like a “human library” with actu­al peo­ple avail­able for illu­mi­nat­ing con­ver­sa­tions. Empa­thy, to Krz­nar­ic’s mind, will only become more impor­tant in the 21st cen­tu­ry, and those of us who can mas­ter out­ro­spec­tion, the skill of “dis­cov­er­ing who we are by step­ping out­side our­selves and explor­ing the lives of oth­er peo­ple and cul­tures,” will fare best there. If after the video you still find your­self con­fused about how best to engage in out­ro­spec­tion, don’t wor­ry: Krz­nar­ic writes an entire blog on the sub­ject.

via Sci­ence Dump

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Noam Chomsky Explains Where Artificial Intelligence Went Wrong

While pop­u­lar­ly known for his pierc­ing and relent­less cri­tiques of U.S. for­eign pol­i­cy and eco­nom­ic neolib­er­al­ism, Noam Chom­sky made his career as a researcher and pro­fes­sor of lin­guis­tics and cog­ni­tive sci­ence. In his 50 years at MIT he earned the appel­la­tion “the father of mod­ern lin­guis­tics” and—after over­turn­ing B.F. Skinner’s behav­ior­ist paradigm—founder of the “cog­ni­tive rev­o­lu­tion.” But these are labels the self-effac­ing Chom­sky rejects, in his char­ac­ter­is­ti­cal­ly under­stat­ed way, as he rejects all tri­umphal­ist nar­ra­tives that seem to promise more than they deliv­er.

Such is the case with Arti­fi­cial Intel­li­gence. The term, coined in 1956 by com­put­er sci­en­tist John McCarthy, once described the opti­mism with which the sci­en­tif­ic com­mu­ni­ty pur­sued the secrets of human cog­ni­tion in order to map those fea­tures onto machines. Opti­mism has turned to puz­zle­ment, ambiva­lence, or in Chomsky’s case out­right skep­ti­cism about the mod­els and method­olo­gies embraced by the field of AI.

Nev­er par­tic­u­lar­ly san­guine about the prospects of unlock­ing the “black box” of human cog­ni­tion through so-called “asso­ci­a­tion­ist” the­o­ries, Chom­sky has recent­ly become even more crit­i­cal of the sta­tis­ti­cal mod­els that have come to dom­i­nate so many of the sci­ences, though he is not with­out his crit­ics. At an MIT sym­po­sium in May of last year, Chom­sky expressed his doubts of a method­ol­o­gy Nobel-win­ning biol­o­gist Syd­ney Bren­ner has called “low input, high through­put, no out­put sci­ence.”

Recent­ly Yarden Katz, an MIT grad­u­ate stu­dent in Cog­ni­tive Sci­ences, sat down with Chom­sky to dis­cuss the prob­lems with AI as Chom­sky sees them. Katz’s com­plete inter­view appeared this month in The Atlantic. He also video­taped the inter­view and post­ed clips to his Youtube chan­nel. In the clip above, Katz asks Chom­sky about “for­got­ten method­olo­gies in arti­fi­cial intel­li­gence.” Chom­sky dis­cuss­es the shift toward prac­ti­cal appli­ca­tion in engi­neer­ing and com­put­ing tech­nol­o­gy, which “direct­ed peo­ple away from the orig­i­nal ques­tions.” He also express­es the opin­ion that the orig­i­nal work was “way too opti­mistic” and assumed too much from the lit­tle data avail­able, and he describes how “throw­ing a sophis­ti­cat­ed machine” at the prob­lem leads to a “self-rein­forc­ing” def­i­n­i­tion of suc­cess that is at odds with sci­en­tif­ic dis­cov­ery.

In the clip below, Chom­sky dis­cuss­es a new field in sys­tems biol­o­gy called “Con­nec­tomics,” an attempt to map the wiring of all the neu­rons in the brain—an endeav­or prick­ly biol­o­gist Syd­ney Bren­ner calls “a form of insan­i­ty.” Katz asks if the “wiring dia­gram” of the brain would pro­vide “the right lev­el of abstrac­tion” for under­stand­ing its work­ings.

The inter­view is worth read­ing, or watch­ing, in full, espe­cial­ly for stu­dents of neu­ro­science or psy­chol­o­gy. Chom­sky dis­cuss­es the work of his one­time col­league David Marr, whose posthu­mous­ly pub­lished book Vision has had an enor­mous influ­ence on the field of cog­ni­tive sci­ence. Chom­sky also prais­es the work of Randy Gal­lis­tel, who argues that devel­op­ments in cog­ni­tive and infor­ma­tion sci­ence will trans­form the field of neu­ro­science and over­turn the par­a­digms embraced by ear­ly researchers in AI. While this is an excit­ing time to be a cog­ni­tive sci­en­tist, it seems, per­haps, a dif­fi­cult time to be a pro­po­nent of Arti­fi­cial Intel­li­gence, giv­en the com­plex­i­ties and chal­lenges the field has yet to meet suc­cess­ful­ly.

Relat­ed Con­tent:

Noam Chom­sky Spells Out the Pur­pose of Edu­ca­tion

Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er (1971)

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

How to Operate Your Brain: A User Manual by Timothy Leary (1993)

Speak­ing at the Human Be-In in Jan­u­ary 1967, Tim­o­thy Leary uttered the famous phrase bor­rowed from Mar­shall McLuhan, “Turn on, tune in, drop out.” It was short­hand for say­ing exper­i­ment with psy­che­delics and achieve new lev­els of con­scious­ness.

Almost 30 years lat­er, Leary had­n’t lost his mis­sion­ary zeal. In 1993 (and only a few years before his death), the for­mer Har­vard psy­chol­o­gy pro­fes­sor record­ed “a pub­lic ser­vice video” called How to Oper­ate Your Brain. Here, Leary nar­rates an almost epilep­tic seizure-induc­ing video, pro­vid­ing what some con­sid­er “a guid­ed med­i­ta­tion” of sorts. I’d pre­fer to call it an unortho­dox â€śuser man­u­al” that tries to impart Leary’s unique sense of enlight­en­ment:

The aim of human life is to know thy­self. Think for your­self. Ques­tion author­i­ty. Think with your friends. Cre­ate, cre­ate new real­i­ties. Phi­los­o­phy is a team sport. Phi­los­o­phy is the ulti­mate, the ulti­mate aphro­disi­ac plea­sure. Learn­ing how to oper­ate your brain, learn­ing how to oper­ate your mind, learn­ing how to redesign chaos.

As you get deep­er into the med­i­ta­tion, you’ll real­ize one thing. Three decades may have passed since Leary pop­u­lar­ized the catch­phrase of the coun­ter­cul­ture. But he’s still get­ting his ideas from McLuhan. If you fol­low the video (or tran­script) to the end, you’ll dis­cov­er that ones and zeros have basi­cal­ly tak­en the place of LSD. Leary says:

Now we have dig­i­tal com­mu­ni­ca­tion. We can cre­ate our fan­tasies. We can cre­ate our rhythms, design on screen.… Any­one in any cul­ture watch­ing this screen will get the gen­er­al pic­ture. It’s one glob­al vil­lage. It’s one glob­al human spir­it, one glob­al human race. As we link up through screens, linked by elec­trons and pho­tons, we will cre­ate for the first time a glob­al human­i­ty, not sep­a­rat­ed by words or minds or nation­al­i­ties or reli­gious bias­es.

You can find McLuhan med­i­tat­ing on the con­cept of an Elec­tron­ic Glob­al Vil­lage in anoth­er vin­tage clip.

Relat­ed Con­tent:

Beyond Tim­o­thy Leary: 2002 Film Revis­its His­to­ry of LSD

This is What Oliv­er Sacks Learned on LSD and Amphet­a­mines

Aldous Huxley’s LSD Death Trip

McLuhan Said “The Medi­um Is The Mes­sage”; Two Pieces Of Media Decode the Famous Phrase

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