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The article looks at the possibility of to revise property regulation and property law doctrine. The author identifies the most important factors that may influence the evolution of property law and provides an assessment whether today’s conditions can change the content of property law and whether they are doing it. The article further discusses changes in the objects of property, the model of economic ties, the motivation of owners and the possibilities of implementing property law.

Transactional objects combine the performance of classical concurrent objects with the high-level programmability of transactional memory. However, verifying the correctness of transactional objects is tricky, requiring reasoning simultaneously about classical concurrent objects, which guarantee the atomicity of individual methods—the property known as linearizability—and about software-transactional-memory libraries, which guarantee the atomicity of user-defined sequences of method calls—or serializability. We present a formal-verification framework called C4, built up from the familiar notion of linearizability and its compositional properties, that allows proof of both kinds of libraries, along with composition of theorems from both styles to prove correctness of applications or further libraries. We apply the framework in a significant case study, verifying a transactional set object built out of both classical and transactional components following the technique of transactional predication ; the proof is modular, reasoning separately about the transactional and nontransactional parts of the implementation. Central to our approach is the use of syntactic transformers on interaction trees —i.e., transactional libraries that transform client code to enforce particular synchronization disciplines. Our framework and case studies are mechanized in Coq.

In this paper we investigate how craft as tekhnē configures organizations and their politics by exploring the relations of technology and organization. Through a two-year ethnographic study of remote craft villages in Vietnam, we consider how political concerns are mobilized, distributed and materialized through craft. Defining craft as a process of organizing that often involves mundane objects, but also sits at the centre of political concerns, we are interested in understanding how craft as tekhnē is realized in organizations and suggest two key features: craft as a location for politics and as a basis for mobilizing politics of scale. We provide three main contributions. First, we show that tekhnē can hold steady a focus on organizing through mundane objects. Second, we demonstrate that attending to the mundane reveals distinct relationships between technology and forms of organizing, that mobilize political concerns. Third, we explore the ways mundane objects of tekhnē are not only involved in representing and preserving cultural heritage, but also in challenging the marginalized status of these communities.

4.7 million odd-one-out similarity judgments of 1854 natural objects

In this project, we aim to investigate participants' perceptions and experiences of socio-affective touch videos (e.g., a video depicting two people hugging, stroking, or hand-holding) and object-touch videos (e.g., a video depicting hugging, stroking or holding an object) in terms of how pleasant, calming, soothing and desirable the videos are. In addition, we are also interested in how individual differences in physical touch (attitudes toward touching objects, social touch attitudes, longing for touch, touch absence) may impact participants' perceptions and experiences of the observed videos.

Does the location of an object affect judgments about what something was designed for? Here we show AI generated images of novel objects and stipulate that they have been found in two different locations, by a river or in a village, to determine whether that influences judgments about design. Our main goal in exploring this is to build a computational model.

The article reviews the concept of the object of forensic science, which is essential for expert research and the identification of classes, genera, species, and subspecies of forensic examinations, as well as their classification.The author presents the objects of environmental forensics as generic objects, gives their definition, analyzes their properties and features. It is also shown that the objects of environmental forensics are divided into the actual objects of research and samples for comparative research. Furthermore, the researcher indicates the possible instances of the intersection of studies of environmental forensics’ objects with other examinations. Finally, the author emphasizes the necessity of compliance by a forensic ecologist with the limits of his competence in such cases.

In a life in which everything is ephemeral including human beings, the time-resisting nature of objects is quite remarkable. Besides their permanence, the role objects play in daily life is unique and irreplaceable. Even though things continue to exist without us, people cannot meet even their most basic needs without them. Therefore, it can be argued that there is an inevitable relationship between people and things from human’s birth till death. This relationship can be in the form of both learning and comprehension or awareness. This study investigates the human-object interaction and the transformative possibilities of this relationship by focusing on the objects in the story of “Solid Objects” by the British modernist author Virginia Woolf. In this study, the agency of objects, coexistence and the uncanny created by the subject-object dynamic are examined. In the light of the investigation, it is concluded that humans can derive new meanings from their interaction with things, and in the same vein, things can transform over time by gaining new meanings. In other words, as a result of the bond that people establish with the world of objects around them, a collective and intertwined network takes place. This interactive network is not one-sided as the subject-object distinction becomes blurred. This blurring of subject-object leads to a sense of uncanny., İnsan dahil her şeyin gelip geçici olduğu bir yaşamda nesnelerin zamana direnen niteliği oldukça dikkat çekicidir. Kalıcılığının yanı sıra insanın gündelik yaşamında oynadıkları rol eşsiz ve yeri doldurulamazdır. Eşyalar biz olmadan var olmayı sürdürse de insan onlar olmadan en temel ihtiyaçlarını bile gideremez. Dolayısıyla insan ile eşya arasında doğumdan ölüme kadar kaçınılmaz bir ilişkiden söz edilebilir. Bu ilişki hem öğrenme hem de idrak etme veya farkına varma biçiminde olabilir. Bu çalışma, İngiliz modernist yazar Virginia Woolf’un “Sert Cisimler” öyküsündeki nesneleri odağına alarak insan-nesne etkileşimini ve bu ilişkinin karşılıklı dönüştürücü imkanlarını incelemektedir. Bill Brown’un “Şey Kuramı” (Thing Theory) temelinde nesnelerin eyleyiciliği, birlikte varoluş ve özne-nesne dinamiğinin yarattığı tekinsizlik çalışmada irdelenmektedir. Buna göre, insan eşya ile olan etkileşiminden hareketle yeni anlamlar türetebildiği gibi eşya da benzer biçimde zamanla yeni anlamlar kazanarak dönüşebilir. Bir diğer deyişle, insanın etrafındaki nesneler dünyası ile kurduğu bağ sonucu tek taraflı olmayan, özne-nesne ayrımının bulanıklaştığı, kolektif ve iç içe geçişsel bir etkileşim ağı meydana gelir. Özne-nesne arasındaki bu bulanıklık tekinsizlik duygusuna yol açar.

The main purpose of this study is to examine what things people think have a purpose. Participants will be given the top 100 nouns from the Corpus for Contemporary American English (COCA) and judge, for each, whether it has a purpose.

• Behavioral evidence indicates infants understand that understand basic properties of physical objects from birth but gradually learn about physical properties such as support through development (Baillargeon 1998). • fMRI research has shown that infants have object responses across cortex (Deen et al. 2017; Livingstone et al. 2017) but the degree to which different regions of the infant brain respond to similar or different properties has never been probed. • In adults, the lateral-occipital complex (LOC) responds to shape, the ventral temporal cortex (VTC) responds to higher-level categorical object features, and parietal cortex responds object interactions (Yildirim et al. 2019). • A lateral-occipital, ventral-temporal, and two parietal regions have been implicated in intuitive physical reasoning in adults (Fischer et al. 2016). • Infant lateral-occipital cortex responds to shape but not texture or color (Emberson et al. 2017). Research Question: Do regions that support object representations and physical reasoning in adults have similar functional profiles in infancy? Hypotheses: • Parietal cortex in infants is engaged in physical inference such as object motion, interaction, solidity, and support. • Object cortex in infant VTC represents object-specific properties invariant to orientation. • LOC in infants represent general shape features independent of object identity (i.e., a response that is not invariant to orientation). Predictions: • In infant LOC, object responses will be similar to face and body responses and different than scene responses. • In infant VTC, object responses will be similar to scene responses and different than face and body responses. • In the parietal regions, one prediction is that the response will be adult-like (objects>bodies>scenes>faces). An alternative possibility that is supported by behavioral studies(Saxe, Tzelnic, and Carey 2006) is that for infants, object responses will be similar to body responses and different than face and scene responses (objects~bodies>scenes~faces). Finally, it is possible that one parietal region (lateral or middle) will have the adult like pattern and one will not. Alternatively, it is possible that the infant brain will not distinguish the relatively fine-grained differences between these stimuli that we hypothesize and/or that these stimuli do not adequately represent the type of physical reasoning infants are capable of.

Data and code to reproduce the main analyses and figures in the paper

Archaeology is currently bound to a series of metaphysical principles, one of which claims that reality is composed of a series of discrete objects. These discrete objects are fundamental metaphysical entities in archaeological science and posthumanist/New Materialist approaches and can be posited, assembled, counted, and consequently included in quantitative models (e.g. Big Data, Bayesian models) or network models (e.g. Actor-Network Theory). The work by Sørensen and Marila shows that archaeological reality is not that discrete, that some objects cannot be easily identified, and that perhaps reality is not always necessarily composed of discrete objects. The aim of this article is to take Sørensen and Marila’s arguments to their ultimate logical consequences: most archaeological theory today operates under the illusion of a general metaphysics. This illusion dictates not only that all of reality is composed of discrete objects, but that since reality manifests in a certain way, there has to be a methodology that accurately represents that reality. A brief discussion on the notion of “conjecture,” as conceived in certain historical theories, is also presented.

La utilización del disfraz muestra la extrema complejidad de las relaciones entre el ser y el parecer en las comedias de Merivaux. Un objeto basta para transformar la identidad de los personajes. En consecuencia, resulta interesante estudiar el poder del disfraz para hacer surgir la acción, crear ese doble juego de verdad y mentira y revelar los sentimientos de los personajes. Para ello, a través de la definición de objeto teatral propuesta por Anne Ubersfeld, intentaremos analizar en este art´ículo las dieciséis comedias en las que Marivaux utiliza los objetos para disfrazar a sus personajes y conducir la acción. The analysis of costume shows the complexity of connection between the true and the false character’s identity in Marivaux’s comedies. It’s therefore interesting to study the object’s potentialities to help tell the story, change the character’s identity and discover love. The main aim of this work is to provide a general analysis of the costume in Marivaux’s comedies on the basis of Anne Ubersfeld’s definition in order to describe its functions and meanings. L’exploitation du déguisement montre l’extrême complexité des rapports entre l’être et le paraître dans les comédies marivaudiennes. Un objet suffit pour transformer l’identité des personnages. Par conséquent, il est intéressant d’étudier le pouvoir du déguisement pour déclencher l’intrigue, créer ce double jeu du faux et du vrai et révéler les sentiments des personnages. Pour cela, à travers la définition d’objet théâtral proposée par Anne Ubersfeld nous allons analyser les seize comédies où Marivaux utilise les objets pour déguiser les personnages et conduire l’action.

The contribution is focusing on the work of the Czech artist Jana Skalická (1957–2015), who was actively creating during the 1980s and the first half of 1990s. At the beginning of her career Skalická worked mainly with textiles, but later on she found a new material, which was better suited for her artistic expression – a plastic film. She was modifing the thin plastics with her own technique, using an iron or a sewing machine. Her art gradually developped from hanging plastic tapestries to three dimensional objects and installations, in which other materials, such as metal, wood, stones and other types of plastic, were incorporated. The majority of Skalická’s works was of an ephemere nature and was not conserved until today. The article is therefore dealing with their photographic depictionand its meaning.

A travers son œuvre le poète nord-irlandais Derek Mahon a fait de la tabula rasa un véritable ars poetica, en utilisant les objets au rebut ou en « cassant » des objets en bon état, pour après les récupérer, voire les recycler en les réintégrant à un nouveau système des objets dont il a établi les règles. Pour ce faire, Mahon n’a cessé de repenser dans ses poèmes la valeur de l’objet au sens économique, métaphysique et poétique du terme, par le biais de la destruction ou de la tabula rasa, conçue comme phase quasi nécessaire et préalable à la revalorisation de l’objet. Par cette revalorisation s’ensuit un processus de reconstruction, où le poète assemble ses « objets transitionnels », pour reprendre les termes de Donald W. Winnicott, comme autant de joujoux qu’il aurait fait siens, afin d’échapper à toute appartenance communautaire, et notamment nord-irlandaise. La poésie de Mahon est ainsi perpétuellement en construction, « A Building Site ». Throughout his poetic œuvre the Northern Irish poet Derek Mahon has made the tabula rasa a true ars poetica of his very own, using discarded objects or even ‘breaking’ objects in good condition, in order to salvage them or recycle them by reintegrating them to a new system of objects of which he alone knows the rules. To achieve such a goal, in his poems Mahon has relentlessly re-envisioned the value of an object economically, metaphysically and poetically, by temporarily destroying it. This ‘tabula rasa’ phase is thus seen as almost essential to the process of re-evaluating the value of objects, which in turn is followed by a process of reconstructing them, implying the poet’s gathering of what Donald W. Winnicott names ‘transitional objects’. Mahon’s transitional objects, so to speak, act as new toys he has made his own, so that he could be free from any kind of attachment towards a community, and especially a Northern Irish one. Mahon’s poetry is thus a ‘Building Site’ of sorts, always in motion.

Attentional selection mechanisms in visual cortex involve changes in oscillatory activity in the EEG alpha band (8-12 Hz), with decreased alpha indicating focal cortical enhancement and increased alpha indicating suppression. This has been observed for spatial selective attention and attention to stimulus features such as color versus motion. We investigated whether attention to objects involves similar alpha-mediated changes in focal cortical excitability. In experiment 1, 20 volunteers (8 males; 12 females) were cued (80% predictive) on a trial-by-trial basis to different objects (faces, scenes, or tools). Support vector machine decoding of alpha power patterns revealed that late (>500 ms latency) in the cue-to-target foreperiod, only EEG alpha differed with the to-be-attended object category. In experiment 2, to eliminate the possibility that decoding of the physical features of cues led to our results, 25 participants (9 males; 16 females) performed a similar task where cues were nonpredictive of the object category. Alpha decoding was now only significant in the early (

Leadership-in-interaction is a somewhat underdeveloped area of research which to date has concentrated on talk-in-interaction to the detriment of other modalities. Consequently, this paper seeks to illustrate how social actors make use of different modalities to accomplish leadership, which we conceptualize as the creation of direction, alignment, and commitment. Through multimodal conversation analysis this paper explores interactions between actors in virtual contexts, a particularly interesting empirical setting as the context offers specific constraints on everyday workplace interaction. By zooming in on the interaction using transcripts of naturally occurring interaction, we find that the accomplishment of leadership, direction, alignment, and commitment, in a constrained virtual context can appear mundane. However, at the same time the accomplishment of leadership calls for the mobilization of several multimodal resources (both talk and information and communication technology objects). The analysis makes it evident that the actors mobilize objects to draw on their situated affordances, in the accomplishment of direction, alignment, and commitment. With a fine-grained analysis of naturally occurring data, we illustrate that leadership is a collective achievement. We also expand the understanding of leadership in practice, especially in virtual contexts, by demonstrating how actors utilize objects and verbal resources in the co-production of leadership.

This study examines the learning processes of the adoption of the Last Planner System (LPS) and mechanisms of learning indicating the successes and failures of their establishment in three organisations. The organisations under study are a public building agency, an engineering office, and a construction company. One practice-based methodology by Engeström and Sannino of organisational learning based on the theory of expansive learning was applied in the analysis. The ethnographic research data included the observation of LPS adoption processes and the interviews of the participants. This study links the epistemic learning actions of the theory of expansive learning to the adoption process of LPS. It also reveals the mechanisms that indicate the success or failure of the adoption process. A successful adoption process seems to require strong ownership, enough time, resources, and opportunities for learning together in practical project work, and the combination of top-down and bottom-up approaches.

This paper aims to understand how various media are needed to anticipate a future object and how the design process therefore relies on making sense of a constellation of objects. To do so, we explore the case of a show created in 2002 by French artist Michel Jaffrennou. Based on a longitudinal study, we analyses how various writing tools shape documents in specific ways. Revealing that each document contributes to unveil certain aspects of the object-to-be, our study also uses a semiotic analysis to analyze how each document imposes a “definition” of what a show “is”, which could prove insufficient to the practice of staging. By suggesting how a “constellation of objects” may avoid this pitfall, for it builds a heterogeneous point of view that conveys the richness of the expected show, our study contributes to a wider discussion on the links between objects and anticipation in projects of design.

Recent advances in contactless micromanipulation strategies have revolutionized prospects of robotic manipulators as next-generation tools for minimally invasive surgeries. In particular, acoustically powered phased arrays offer dexterous means of manipulation both in air and water. Inspired by these phased arrays, we present SonoTweezer: a compact, low-power, and lightweight array of immersible ultrasonic transducers capable of trapping and manipulation of sub-mm sized agents underwater. Based on a parametric investigation with numerical pressure field simulations, we design and create a six-transducer configuration, which is small compared to other reported multi-transducer arrays (16-256 elements). Despite the small size of array, SonoTweezer can reach pressure magnitudes of 300 kPa at a low supply voltage of 25 V to the transducers, which is in the same order of absolute pressure as multi-transducer arrays. Subsequently, we exploit the compactness of our array as an end-effector tool for a robotic manipulator to demonstrate long-range actuation of sub-millimeter agents over a hundred times the agent's body length. Furthermore, a phase-modulation over its individual transducers allows our array to locally maneuver its target agents at sub-mm steps. The ability to manipulate agents underwater makes SonoTweezer suitable for clinical applications considering water's similarity to biological media, e.g., vitreous humor and blood plasma. Finally, we show trapping and manipulation of micro-agents under medical ultrasound (US) imaging modality. This application of our actuation strategy combines the usage of US waves for both imaging and micromanipulation.

Memory for objects and their location is a cornerstone of adequate cognitive functioning across the lifespan. Considering that human visual perception is dependent upon the position of stimuli within the visual field, we posit that the position of objects in the environment may be a determinant aspect of mnemonic performance. In this study, a population of young and older adults completed a source monitoring task with objects presented either in the upper or lower visual field. Using multinomial processing tree modeling, we revealed that while item memory remained intact in older age, spatial memory was impaired but only for objects that had been presented in the upper visual field. Spatial memory is therefore conditioned by the vertical position of information. These findings put into question the traditional view that age-related spatial mnemonic deficits are primarily attributable to high-order associative dysfunctions and suggest that they could also originate from altered encoding of object attributes.

Ушбу мақолада тасвирий санъат тўгарак машғулотларида акварель бўёғида натюрморт ишлаш технологияси ҳақида фикр юритилади., The article describes the teaching of fine art circles and the technology of working with still lifes in watercolor painting.

Silpa Bhirasri Journal of Fine Arts, 10, 2, 42-88

The aim of this article was to define military culture and provide in-depth knowledge for the benefit of individuals and researchers who are interested in the topic. For this purpose, a theoretical framework was constructed around core beliefs and assumptions, values, norms, and symbols of military organizations. Since military is a form of organization, structure of the article was based on concepts of organizational culture. In doing so, relationships between these concepts were addressed to indicate how militaries are operated and commanded. By this means, a comprehensive and theoretically sound reference guide was developed.

Leader article of Pre-Modern “Pop Cultures”? Images and Objects Around the Mediterranean (350-1918 CE). The aim of this monography is to analyze, from the most significant images and objects, to the traditions that have accompanied us to this day. Editorial de ¿“Cultura Pop” antes de la Modernidad? Imágenes y objetos en el Mediterráneo (350-1918 d. C.). El objetivo de esta monografía es analizar, desde las imágenes y objetos más significativos, hasta las tradiciones que nos han acompañado hasta nuestros días.

This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted reuse, distribution, and reproduction in any medium, provided the original work is properly cited., We have monitored the Didymos–Dimorphos binary asteroid in spectropolarimetric mode in the optical range before and after the DART impact. The ultimate goal was to obtain constraints on the characteristics of the ejected dust for modeling purposes. Before impact, Didymos exhibited a linear polarization rapidly increasing with phase angle, reaching a level of ∼5% in the blue and ∼4.5% in the red. The shape of the polarization spectrum was anticorrelated with that of its reflectance spectrum, which appeared typical of an S-class asteroid. After impact, the level of polarization dropped by about 1 percentage point (pp) in the blue band and about 0.5 pp in the red band, then continued to linearly increase with phase angle, with a slope similar to that measured prior to impact. The polarization spectra, once normalized by their values at an arbitrary wavelength, show very little or no change over the course of all observations before and after impact. The lack of any remarkable change in the shape of the polarization spectrum after impact suggests that the way in which polarization varies with wavelength depends on the composition of the scattering material, rather than on its structure, be this a surface or a debris cloud. © 2023. The Author(s). Published by the American Astronomical Society., With funding from the Spanish government through the "Severo Ochoa Centre of Excellence" accreditation (CEX2021-001131-S).

Throughout its history, travel writing has not been held in the same esteem as many other forms of non-fiction writing (Youngs, 2013; Stubbs, 2015) due to issues with representation, the creative techniques used, and the subjective perspective of the writer. Despite this critique, Baine Campbell has asserted that travel writing has a ‘plurality’ (2002), which allows it to resonate across a variety of disciplines. This paper observes how a recognition of the importance of objects as evocative and creative artefacts can provide a prompt for more engaged and authentic examples of travel writing, so as to better achieve recognition as a legitimate blend of creative writing, journalism, and history writing. The research will examine the influential travel writing works of Bruce Chatwin with In Patagonia (1977) and Christopher Kremmer’s The Carpet Wars (2002) to observe how these writers use objects for significant creative and cultural guides within their explorations. By looking closer at how objects can present new ways of looking at and writing about place, I will examine how an awareness of meaningful artefacts has influenced the creative and structural choices of my own travel writing practice to better achieve a plurality of appeal that moves it beyond its past criticisms.

The subject of this thesis is the literary representation of objects and of the phenomenon of object fetishism in Italian short stories written between 1930 and 1959. The examination of the recurrence and representation of these motifs offers both a viable route for an exploration of the impact on literature of the rise of material culture during this period of modern Italian history, and a deeper understanding of the expressive modalities adopted to depict that culture. The interpretative approach adopted in this study is both critical and theoretical. It hinges upon a selection of four different theoretical frameworks, which conceive of the ideas of objects and of the phenomenon of object fetishism in radically different ways. Each chapter is centred on one theoretical approach and uses it to undertake textual analyses of short stories by Dino Buzzati, Italo Calvino, Carlo Emilio Gadda, Tommaso Landolfi, Elsa Morante, Alberto Moravia, and Anna Maria Ortese. This thesis also shows how the application of the selected theoretical approaches can fit with the existing critical literature on the authors, whilst simultaneously providing more complex and refined considerations on the texts. Following these premises, the thesis is articulated in five chapters. The introduction lays out the historical, cultural, and literary background of the period. Chapter One applies psychoanalytical theories to texts by Morante, Ortese, and Calvino. Chapter Two is based on the application of Marxism-derived theoretical parameters to the analysis of texts by Gadda and Moravia. Chapter Three adopts a new materialist approach to the study of short stories by Landolfi and Buzzati. Chapter Four considers dust and rubbish theories and discusses them in reference to texts by Gadda and Calvino. These chapters are followed by a conclusion.

Speckle patterns produced by disordered scattering systems exhibit a sensitivity to addition of individual particles which can be used for sensing applications. Using a coupled dipole model we investigate how multiple scattering can enhance field perturbations arising in such random scattering based sensors. Three distinct families of multiple scattering paths are shown to contribute and the corresponding complex enhancement factors derived. Probability distributions of individual enhancement factors over the complex plane are characterised numerically within the context of surface plasmon polariton scattering in which absorption is shown to play an important role. We show that enhancements become more strongly dependent on individual scatterer properties when absorption losses are larger, however, amplitude enhancements $\sim 10^2$, comparable to low loss surface plasmons, are achievable through sensor optimisation. Approximate analytic expressions for the complex mean enhancements are also found, which agree well with simulations when loop contributions are negligible., Comment: Supplementary Movies provided

Archaeological research at Aalst – Siesegemkouter revealed several pits within a Middle to Late Bronze Age settlement. Most of them hardly contained any artefacts, but one exception showed a structured stratigraphy with an abundance of finds, including a large amount of shattered pottery, charcoal and calcined animal bone. The study of this assemblage, and comparison with two other pits showing similarities, provides strong indications of a closing deposit or another type of ‘site maintenance practice’. In the Low Countries, comparable contexts generally date from the Iron Age, suggesting that the finds from Aalst – Siesegemkouter represent early forerunners of this ritual practice. On top of this early date, the large volume of cremated animal bone represents an almost unique characteristic for which, until now, parallels from the Metal Ages have hardly been found, even on a Northwestern European scale. In general, the role played by organic remains in ritual contexts from these periods and regions is poorly understood, often due to bad preservation conditions or the lack of a multidisciplinary approach.

Current theories propose that our sense of curiosity is determined by the learning progress or information gain that our cognitive system expects to make. However, few studies have explicitly tried to quantify subjective information gain and link it to measures of curiosity. Here, we asked people to report their curiosity about the intrinsically engaging perceptual 'puzzles' known as Mooney images, and to report on the strength of their aha experience upon revealing the solution image (curiosity relief). We also asked our participants (279) to make a guess concerning the solution of the image, and used the distribution of these guesses to compute the crowdsourced semantic entropy (or ambiguity) of the images, as a measure of the potential for information gain. Our results confirm that curiosity and, even more so, aha experience is substantially associated with this semantic information gain measure. These findings support the expected information gain theory of curiosity and suggest that the aha experience or intrinsic reward is driven by the actual information gain. In an unannounced memory part, we also established that the often reported influence of curiosity on memory is fully mediated by the aha experience or curiosity relief. We discuss the implications of our results for the burgeoning fields of curiosity and psychoaesthetics. ispartof: Cognition vol:212 pages:1-11 ispartof: location:Netherlands status: published

Drawing is a powerful tool that can be used to convey rich perceptual information about objects in the world. What are the neural mechanisms that enable us to produce a recognizable drawing of an object, and how does this visual production experience influence how this object is represented in the brain? Here we evaluate the hypothesis that producing and recognizing an object recruit a shared neural representation, such that repeatedly drawing the object can enhance its perceptual discriminability in the brain. We scanned participants using fMRI across three phases of a training study: during training, participants repeatedly drew two objects in an alternating sequence on an MR-compatible tablet; before and after training, they viewed these and two other control objects, allowing us to measure the neural representation of each object in visual cortex. We found that: (1) stimulus-evoked representations of objects in visual cortex are recruited during visually cued production of drawings of these objects, even throughout the period when the object cue is no longer present; (2) the object currently being drawn is prioritized in visual cortex during drawing production, while other repeatedly drawn objects are suppressed; and (3) patterns of connectivity between regions in occipital and parietal cortex supported enhanced decoding of the currently drawn object across the training phase, suggesting a potential substrate for learning how to transform perceptual representations into representational actions. Taken together, our study provides novel insight into the functional relationship between visual production and recognition in the brain.Significance StatementHumans can produce simple line drawings that capture rich information about their perceptual experiences. However, the mechanisms that support this behavior are not well understood. Here we investigate how regions in visual cortex participate in the recognition of an object and the production of a drawing of it. We find that these regions carry diagnostic information about an object in a similar format both during recognition and production, and that practice drawing an object enhances transmission of information about it to downstream regions. Taken together, our study provides novel insight into the functional relationship between visual production and recognition in the brain.

For bioclimatic high-rise architecture, it is important to ensure the maximum adaptation of the building to the natural environment, which allows you to get an architecture that meets the qualities of the natural ecosystem. This approach requires resources for the search and implementation of innovative solutions at all stages of design, including through the use of natural analogues.The theoretical aspects of the use of natural forms in architecture and examples of the construction of such objects are analyzed in numerous studies and scientific publications on construction and architecture. Research on the use of natural analogues when designing taking into account the bioclimatic adaptation of buildings for organizing a person’s comfortable existence is a promising direction in order to optimize the tasks of bioclimatic high-rise construction.It is known that nature at low costs is able to create various multifunctional balanced objects. If a high-rise bioclimatic building is considered from these positions, then a hierarchical structure should be defined for the analysis of its natural analogues or prototypes. The objective of such a structure is the formation and maintenance of the high-rise bioclimatic building at the expense of various means, the formation of which begins from the submolecular level (nanoscale of structural materials) and to the creation of the general structure of the high-rise building, capable of performing functions to ensure the stability, reliability and durability of the building under the influence of loads (wind, seismic, gravitational) and climatic influences. The article presents a general analysis, classification of analogues of natural objects and their application in bioclimatic high-rise buildings. The tasks of developing the form and image of high-rise bioclimatic buildings, ensuring their structural and technological qualities based on natural analogues, are defined. The directions of reproduction, examples of high-rise buildings, and approaches to a comprehensive and effective solution of the tasks are considered., В статье представлен общий анализ, классификация аналогов природных объектов и направлений их применения в биоклиматических высотных зданиях. Определены задачи по разработке формы и образа высотных биоклиматических зданий, обеспечения их конструктивных и технологических качеств на основе природных аналогов. Рассмотрены направления воспроизведения, примеры высотных зданий, подходы по комплексному и эффективному решению поставленных задач.

Partant de l’hypothèse que l’intégration des objets de la modernité en littérature implique un positionnement idéologique et théorique fort qui articule des systèmes d’idées en tension (confrontant une fascination pour le monde nouveau des consommations et matérialités sérielles à un front de défense des valeurs de singularisation de l’art), cette étude se propose d’observer l’agencement complexe des différents registres de valeurs que le discours sur la mode cristallise dans trois romans – Renée Mauperin, Manette Salomon et Chérie –, de façon à comprendre comme un coup de force idéologique la récupération légitimante de la mode par la littérature. La transformation du phénomène vulgarisateur de la mode en art est à la fois une proposition militante d’écrivain pour résister à la « Fédération de la Matière » et, dans sa résolution narrative, à échelle des personnages, l’expression pessimiste d’un projet en échec. The integration of objects of modernity in literature implies a strong ideological and theoretical positioning which articulates two systems of ideas in tension (the fascination for the new world of the serial consumptions and materialities in opposition to the values of singularization by art. Starting from this idea, we propose to observe, in three novels – Renée Mauperin, Manette Salomon and Chérie –, the complex arrangement of the different registers of values that the discourse on fashion crystallize, in order to understand as an ideological strike the legitimizing recovery of fashion by literature. The transformation of fashion into art is both a militant proposal to resist the "Federation of the Matter" and, in its narrative resolution, on the scale of the characters, the pessimistic expression of a project in failure.

The development of COUNTER usage statistics code of practice (de facto standard) during 2003–2016 is considered. It is demonstrated what issues in developing four successive versions of standard resulted in its substantial redesign fulfilled during 2016–2018 and implemented in COUNTER 5. New conceptual structure of COUNTER 5 (effective from January 1st, 2019) with its three components “objects — metrics — attributes” is described. New opportunities of statistical reports generation allowing to combine different attributes and metrics are analyzed. New standard reports are described and commented. Differences in summary statistics data compared to previous year data are explained. The importance of standardized usage data from content providers not COUNTER compliant yet is stressed.

The practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s object-oriented philosophical programmes. We respond to the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art.

Authenticity has often been considered to be a key theme in contemporary consumer culture. One of its manifestations is how branded market offerings can maintain authentic meanings, especially in a market increasingly saturated with counterfeit substitutes. By following a Baudrillardian perspective, we focus on fashion objects in the “branded luxury” category to problematize the sanctity of the authentic/counterfeit distinction. We argue that marketing literature generally attempts to normatively maintain and impose the distinction in ways that obscure the complexities of this conceptual interplay. We posit that instead of normative accounts that attempt to sanctify the extant orders of global capitalist markets, literature on luxury consumption should instead recognize the excess of meaning in the semiotic interplay of commodified authentic/counterfeit meanings. Any view of morality in luxury consumption should thus recognize “ambivalence” and “seduction” as its intensive qualities.

Over the past two decades, the concept of authenticity has been the subject of considerable disagreement and debate. Although there have been attempts at reconciling various existing approaches, the literature is still short on a definition that is both practical and precise. This article proposes to make significant headway to that effect by suggesting that authenticity can be accounted for by an underlying psychological phenomenon known as essentialism. In making our case, we first provide an overview of present-day objectivist and constructivist positions and point out their shortcomings, after which we introduce an essentialist account of authenticity. We then argue essentialism has profound benefits over contemporary views and might be the best overarching framework we have, if we intend to reach consensus on the meaning of authenticity.

Object-oriented ontologists understand relations of cause and effect to be sensory or aesthetic in nature, not involving direct interaction between objects. Four major arguments are used to defend an indirect view of causation: 1) that there are analogies between perception and causation, 2) that the indirect view can account for cases of causation which a direct view cannot, 3) an Occasionalist argument that direct interaction would make causation impossible, and 4) that the view simply fits better with object-oriented ontology’s own premises. However, each argument is fallacious or otherwise unconvincing. The first affirms the consequent. The second fails because the relevant cases can easily be accounted for with a direct view. The third makes false assumptions about the relation between parts and wholes. And the fourth can also be used to argue against object-oriented ontology. Many of these problems can be traced to the methodological aspects of object-oriented ontology and might be avoided by emphasizing the role of non-argumentative justification in metaphysics.

This paper considers the importance of material objects for looked after and adopted children integrated as part of life story work practices. Conducting life story work is believed to be good practice within direct work with looked after children in England and there are a range of diverse practices, including life story books, later life letters and memory boxes. Through a creative design project developing a playful memory product for looked after children, we have had the opportunity to capture sector perspectives on life story work approaches and these are interspersed throughout this commentary. Combining multi-disciplinary theoretical perspectives and these sector insights, we explore how special material objects are important for children’s identity and continuity of sense of self. The paper highlights the importance of children telling their own stories of these objects, giving them agency and control over their life story narratives. In a context of austerity, life story work may not be prioritised by social workers who have many other competing demands and limited resources. We emphasise the need for professionals to recognise the value children give to objects and to provide them with opportunities to both keep these safe during placement moves and to tell their own story through their objects alongside more traditional, formal life story work. The recommendations have implications for children in out of home care in many country contexts, not just England where the research has been conducted.

This article reports on an art project carried out by undergraduates in a core course entitled 'Art and Innovation' offered at Koc University in Istanbul, based on traditional handmade carpets in Turkey. The project enables 23 undergraduates from various disciplines to become acquainted with material culture and art as they reflect on the carpets' declining presence in contemporary culture. The goals of the project are first to acquaint the students with the art history and symbolism of carpets from Turkey, then to invite students to investigate contemporary artworks created in relation to carpets and finally to move into sketching and discussions later to have the students conceptualize an artwork that reflects the changing status of handmade carpets and the weaving tradition as an indicator of transformations in society.

The research and writing of this paper was supported in part by a 2017–2018 Leverhulme Research Fellowship from the Leverhulme Trust. In a series of papers (Fine et al., 1982; Fine, Noûs28(2), 137–158; 1994, Midwest Studies in Philosophy, 23, 61–74, 1999) Fine develops his hylomorphic theory of embodiments. In this article, we supply a formal semantics for this theory that is adequate to the principles laid down for it in (Midwest Studies in Philosophy, 23, 61–74, 1999). In Section 1, we lay out the theory of embodiments as Fine presents it. In Section 2, we argue on Cantorian grounds that the theory needs to be stabilized, and sketch some ways forward, discussing various choice points in modeling the view. In Section 3, we develop a formal semantics for the theory of embodiments by constructing embodiments in stages and restricting the domain of the second-order quantifiers. In Section 4 we give a few illustrative examples to show how the models deliver Finean hylomorphic consequences. In Section 5, we prove that Fine’s principles are sound with respect to this semantics. In Section 6 we present some inexpressibility results concerning Fine’s various notions of parthood and show that in our formal semantics these notions are all expressible using a single mereological primitive. In Section 7, we prove several mereological results stemming from the model theory, showing that the mereology is surprisingly robust. In Section 8, we draw some philosophical lessons from the formal semantics, and in particular respond to Koslicki’s (2008) main objection to Fine’s theory. In the appendix we present proofs of the inexpressibility results of Section 6. Publisher PDF

La apropiación del espacio es un proceso que permite hacer lecturas de cambios en las relaciones al interior de la familia entre los individuos, los objetos y el espacio mismo. En este sentido es posible encontrar diferentes representaciones y prácticas ―para vestir los espacios del hogar y en especial la sala comedor― que permiten escenarios de simbolización, proyección e interacción en el ámbito íntimo o familiar. En esta investigación se estudió cualitativamente a partir de entrevistas y observación el valor simbólico de los objetos para vestir la sala comedor en las familias de nivel socioeconómico 3 y 4 de Sabaneta, Antioquia, para comprender el aporte de estos a la apropiación de los espacios. La investigación evidencia que el consumo de los espacios modernos y especialmente de la sala comedor se ha resignificado apelando a una relación de placer, de disfrute individual, familiar y social; en donde las normas colectivas no han impedido el desarrollo de nuevas prácticas de vestir este espacio, lo que permite la proyección de identidad y materializa además el confort por medio de objetos multifuncionales y adaptables a la sala comedor. En esta dinámica de apropiación los individuos a través del uso y disposición de los objetos establecen relaciones con estos y los van cargando de significado, de vivencias y símbolos en busca del disfrute colectivo o individual, de lo estético y sensitivo y del bienestar sensorial. The appropriation of space is a process that allows readings of changes in relationships within the family, between individuals, objects and space itself. In this sense it is possible to find different representations and practices to dress the spaces of the home and especially the living-dining room, allowing scenarios of symbolization, projection and interaction in the intimate or family environment. In this research, the symbolic value of the objects to dress the living-dining room in homes of 3 and 4 socioeconomic level families in Sabaneta, Antioquia, were qualitatively studied from interviews and observation to understand their contribution to the appropriation of spaces. The research shows that the consumption of modern spaces and especially the living-dining room has been resignified by appealing to a relationship of pleasure, individual, family and social enjoyment, where the collective norms have not prevented the development of new practices of dressing this space, which allows the projection of identity and also materializes comfort by means of multifunctional objects adaptable to the living-dining room. In this dynamic of appropriation, through the use and disposition of objects, individuals establish relationships with them and charge them with meaning, experiences and symbols in search of collective or individual enjoyment, of the aesthetic and sensory, and of the sensory well-being.

L’article décrit l’attente des familles exilées hébergées dans des hôtels. De quoi est fait le quotidien en attendant les papiers pour chacun des membres de la famille, un CDI, un logement ? Nous proposons de porter notre attention sur les relations entre le temps vécu et la vie matérielle, autrement dit l’espace, les objets, l’argent, les papiers administratifs, les petits boulots, les échanges concrets, lesquels sont trop souvent évacués des recherches sociologiques sur l’exil.Parce que l’espace d’hébergement donne un relief particulier à l’attente, nous proposons de saisir ces temporalités sociales comme configurations particulières des relations entre l’espace et le temps. L’enquête ethnographique menée dans quatre hôtels situés dans l’Oise et en Île-de-France souligne combien l’attente revêt une réalité toute matérielle. Les familles vivent entre l’impossibilité de s’installer en France – au sens du droit commun de « prendre domicile » – et le temps qui creuse leur présence, accumule les relations et les expériences. Une forme de paradoxe entre précarité du statut et épaisseur du temps vécu. The article describes the waiting of exiled families staying in hotels. What is daily life like while waiting for papers for each family member, a permanent contract, housing? We propose to focus our attention on the relationship between the time lived and the material life, in other words space, objects, money, administrative papers, undeclared jobs, concrete exchanges, too often evacuated from sociological research on exile. Because the living space gives a particular substance to waiting, we propose to seize these social temporalities as particular configurations of the relations between space and time. The ethnographic survey conducted in four hotels in the Oise and Ile-de-France regions of France underlines the extent to which waiting has a very material reality. Families live between the impossibility of settling in France - in the sense of the common law of “taking up residence” - and the time that carves their presence, accumulating relationships and experiences. A form of paradox between the precariousness of status and the thickness of time lived. El artículo describe la espera de familias exiliadas que viven en hoteles. ¿Cómo es la vida cotidiana mientras se esperan los papeles para cada miembro de la familia, un trabajo fijo, una vivienda? Proponemos centrar nuestra atención en la relación entre el tiempo vivido y la vida material, es decir, el espacio, los objetos, el dinero, los documentos administrativos, los trabajos esporádicos, los intercambios concretos, que no suelen tomar en cuenta las investigaciones sociológicas sobre el exilio. Dado que la vivienda en la que son acogidos estos migrantes da un relieve particular a la espera, proponemos aprehender estas temporalidades sociales como configuraciones particulares de las relaciones entre espacio y tiempo. La etnografía realizada en cuatro hoteles del departamento del Oise y en Île-de-France pone de manifiesto hasta qué punto la espera es una realidad material. Las familias viven entre la imposibilidad de establecerse en Francia -en el sentido jurídico de “fijar la residencia”- y el tiempo que ahonda su presencia, acumulando relaciones y experiencias. Una forma de paradoja entre la precariedad del estatus y el espesor del tiempo vivido.

Cet article étudie comment l’analyse et la visualisation de caractéristiques sensorielles de l’image en mouvement pourraient contribuer à une reconstitution des archives audiovisuelles, et comment cela affecte comment les objets qui constituent ces archives acquièrent du sens. À ce but, l’article s’inspire du projet de recherche en cours The Sensory Moving Image Archive (SEMIA). Le point de départ du projet SEMIA était l’observation que les utilisateurs étaient contraints par des pratiques courantes de description archivistique qui donnent accès aux archives d’images en mouvement numérisées. En général les catalogues institutionnels ou les systèmes de gestion de contenu ont tendance à se servir de labels soi-disant ‘sémantiques’ : des mots-clés ou des tags qui facilitent l’identification d’entités qui figurent dans ou qui sont associés aux images en mouvement (par exemple personnages, lieux, dates, genres, etc.). Ces catégories sont produites ou manuellement (avec des résultats souvent fragmentaires) ou — comme c’est le cas de plus en plus souvent — avec des outils qui permettent de créer des métadonnées de manière automatisée automatiquement ou sémi-automatisée. Pourtant, la dépendance de descripteurs sémantiques implique une logique de recherche ciblée qui présuppose que les utilisateurs savent ce dont ils cherchent ; en outre, la recherche est profondément influencée par les cadres d’interprétation qui dirigent la création de catégories et de labels. Cela risque de poser des restrictions à ce que les utilisateurs peuvent trouver ou à comment ils peuvent établir des rapports entre des objets — et finalement aussi à comment ils peuvent utiliser ou réinterpréter le contenu des archives. Le projet SEMIA se propose d’étudier si et comment l’analyse visuelle et la visualisation de rapports sensoriels entre les objets pourraient contribuer à développer une alternative qui peut offrir une forme de navigation davantage explorative.Notre article propose une réflexion sur ce que cet effort comprend en termes d’attribution de sens dans le contexte des archives d’images en mouvement. Qu’est-ce qu’implique les transformations numériques pour la compréhension des objets et les rapports entre eux ? Comment les conditions de création d’un sens changent-ils à différents points dans le processus de l’analyse computationelle et du design d’interface ? Quels sont les mérites à la fois de la transformation des images et des archives et de nouvelles significations possibles qui se présentent en termes d’accès et réutilisation ? En étudiant ces questions, nous considérons aussi le rôle prospectif de la sérendipité dans la rencontre entre les utilisateurs et les objets de bases de données et de la création de sens, tout en nous penchant sur le prototype de l’outil que l’équipe scientifique de SEMIA est en ce moment en train de développer. The article explores how the analysis and visualization of sensory features in digitized moving images contributes towards the reconstitution of audiovisual archives, and how this affects how the objects and collections that make up those archives acquire meaning. In doing so, it takes inspiration from the ongoing research project The Sensory Moving Image Archive (SEMIA). SEMIA was born out of the observation that users, in accessing repositories of digitized moving images, are constrained by current practices of archival description. Institutional catalogues and collection management systems generally make use of so-called ‘semantic’ labels: keywords or other tags that serve to positively identify entities featured in or otherwise associated with specific items (e.g. people, locations, dates, genres, etc.). Those labels are either produced manually (as a result of which they are also highly fragmentary) or, increasingly, with tools for automatic or semi-automatic metadating. However, reliance on semantic descriptors implies a logic of targeted search, which presupposes that users know what they are looking for; moreover, searching is profoundly shaped by the interpretive frameworks that govern labelling. Arguably, this poses restrictions on what users can find or how they can relate archival objects to each other—but ultimately also in terms of how they can use or reinterpret the contents of archives. The SEMIA project team sets out to explore whether, and if so how, visual analysis and visualization of the sensory relations between items can help provide an alternative, affording more exploratory forms of browsing.In this article, we reflect on what this effort entails in terms of how meaning is assigned in the context of moving image archives. What do the different digital transformations that archival objects undergo entail in terms of how they are understood, also in relation to each other? How do the conditions for meaning production get shaped, at different points in the processes of computational analysis and interface design? What are the merits, both of the transformation of images and archives and of the attendant possibilities for new meaning being opened up, in terms of archival access and reuse? In exploring these questions, we work towards a consideration of the role of serendipity in how users encounter, and draw meaning from, database objects, in relation to the tool prototype the SEMIA team is currently developing.

This article aims to provide a metaphysical elucidation of a specific model of the doctrine of the Trinity: Monarchical Trinitarianism, within the formal, neo–Aristotelian ontological and metaphysical framework of Jonathan Lowe (i.e. his four–category ontology and serious essentialism). Formulating the model through this ontological and metaphysical framework will enable us to explicate it in a clear and consistent manner, and the important 'multiple–natures' problem raised against the proposed model will be shown to be ineffective.