Human Auditory Range

http://hypertextbook.com/facts/2003/ChrisDAmbrose.shtml

http://hyperphysics.phy-astr.gsu.edu/hbase/sound/earsens.html

Free Will — Interesting Things

http://www.consciousentities.com/experiments.htm

Some of the most-discussed experiments in the field are those carried out by Benjamin Libet, which appear to demonstrate that supposedly conscious decisions are already settled before we become aware of them.

Libet asked his experimental subjects to move one hand at an arbitrary moment decided by them, and to report when they made the decision (they timed the decision by noticing the position of a dot circling a clock face). At the same time the electrical activity of their brain was monitored. Now it had already been established by much earlier research that consciously-chosen actions are preceded by a pattern of activity known as a Readiness Potential (or RP). The surprising result was that the reported time of each decision was consistently a short period (some tenths of a second)after the RP appeared. This seems to prove that the supposedly conscious decisions had actually been determined unconsciously beforehand. This seems to lend strong experimental support both to the idea that free will is an illusion (at most, it would seem, there is scope for a last-minute veto by the conscious mind — a possibility which has been much debated since) and to a form of epiphenomenalism .

There are many different ways of challenging Libet’s conclusions. We could still question whether RPs really have the significance attributed to them. We could question whether the unusual circumstances of the experiment, with subjects thinking in advance about making a decision, and then making one for no reason whatever, properly represent normal thought processes. We could take the view that the experiments involve at least two mental reporting processes, one to do with the occurence of the decision, one to do with the state of the clock, which makes any judgement of simultaneity highly problematic .

Libet himself proposed in 1994 that the diverse neural events which contribute to consciousness are drawn together by a conscious mental field (CMF): a phenomenon which emerges from certain kinds of brain activity. The experiments he proposed to test this idea have not been carried out, and arguably it raises more problems than it solves. Libet’s research, in any case, remains challenging and interesting.

If you ask me, the key point is that consciousness is not a simple, unitary phenomenon. There’s a difference, for example, between just saying what you think, and carefully planning in advance the words you’re going to say. But nobody would claim that just saying what you think wasn’t a conscious activity. Libet’s experiment requires two different levels of consciousness. First you have to make an unreflecting decision to move. Then you have to consciously think about having made the decision — second-order consciousness — in order to notice the time. It’s not at all surprising that the conscious decision represented by the RP comes first, and the second-order thought about that decision a fraction of a second later. In no way does this show the decision wasn’t conscious, or any of the rest of it. More generally, it’s obvious that the simpler processes which together constitute conscious thought can’t themselves be conscious, or we should be stuck with an infinite regress. There’s nothing in that which ought to worry us.

A fuller account of Libet’s experiments and theory.

Split brains

It happens that the human brain comes in two well-defined halves. No-one seems to know why, though it has been argued that switching from symmetrical to asymmetrical functioning gave the human brain a sudden increase in power by cutting out duplication. But since consciousness is unitary, the dual structure of the brain raises some interesting problems. In Moby Dick , Herman Melville pointed out that since the eyes of whales are widely separated, they must either, unimaginably, perceive two entirely separate visual fields at once, or in effect, look at only one side at a time. If problems like that arise from having two separate eyes, what can we expect from two different centres of consciousness? Descartes chose the pineal gland as the centre of interaction between mind and body partly because it was one of the few brain structures which wasn’t duplicated.

The bifurcation of the brain also means that, unlike the impossible experiments often considered by philosopers (gradually replacing neurons with silicon chips, for example), it is surgically perfectly feasible to cut the main connection between the two hemispheres of the cortex and, in effect, cut a living brain in half. This extraordinary possibility became reality when the operation was performed as a last-ditch attempt to relieve the symptoms of certain patients suffering severe epilepsy.

Perhaps the most important consequence of the operation was that it worked — it did stop epileptic activity propagating from one hemisphere to another, and in that respect improved the lives of the subjects. In other ways, it had no obvious effect: subjects were able to continue their normal lives without handicap or difficulty. However, a series of ingenious experiments carried out by Sperry and others showed that in many respects the two hemispheres were operating independently. The dominant hemisphere could report what it saw with the eye connected directly to it, or felt with ‘its own’ hand, but not what the other eye was seeing or the other hand was feeling. The other hemisphere, without the main language centres, could not report anything verbally but by pointing with ‘its own’ hand and other means it could indicate that it too had access only to one eye and one half of the body.

It is tempting to conclude that the operation had created two separate spheres of consciousness — put bluntly, two different people. It is reasonable to conclude that each hemisphere is capable on its own of supporting a person: the loss of either hemisphere, even the dominant one, causes severe damage but not, as Eccles puts it, annihilation.

However, some caution is required. All the experimental subjects were severely epileptic to begin with. The unusual effects appeared only under special experimental circumstances. The scientists involved were actively looking for this kind of effect, rather than noticing something which forced itself on their attention. Most important of all, the subjects themselves did not feel that they had been split into two people: they continued to lead a normal life without, for example, one leg trying to walk off in a different direction (though apparently a tendency to favour one side could sometimes be observed). The hypothesis that there were, in effect, two people in the subjects’ heads is not really justified by the evidence: a more economical and perhaps more accurate description might be that they were normal people with the exception of an unusual mental deficit in the ability to report impressions from either side of the body.

Blindsight

Damage to certain areas of the brain may leave a patient blind in one eye, or in one area of their visual field. Although they have normal vision elsewhere, such patients are unable to report what is going on in the ‘blind spot’ and say that they see nothing there. However, experiments have shown that when asked to guess the location of an object or a light in the blind patch, some of them perform well. Although they continue to say they cannot see the object in question, they consistently point in right direction. This phenomenon is known as ‘blindsight’.

Blindsight appears to challenge the idea that we know what’s going on in our minds and what motivates our behaviour, and it can therefore be seen as evidence in favour of some variety of epiphenomenalism. The experiments which reveal it can perhaps be seen as related to others which show that subliminal or unnoticed details can nevertheless influence our subsequent behaviour, as can post-hypnotic suggestions or information given only to one side of a ‘split-brain’ patient. A striking fact about all these cases is the patient’s failure to be aware of what is going on. They may say they are acting at random, or they may invent reasons for their behaviour after the fact. This does suggest that we do less by way of controlling our behaviour than we think, and more by way of rationalising it.

Ramachandran has suggested that blindsight arises from the fact that there are two pathways from the eye into the brain — one to the cortex, assumed to be the home of consciousness, one to the ‘older’ instinctive parts. It’s conceivable that blindsight represents survival of the ‘old’ pathway after destruction of the ‘new’ one to conscious functions. But this solution would be specific to vision.

A more general explanation might come from the idea that perception involves distributed activity in several different parts of the brain. Suppose, let’s say, that seeing object A over there involves the activation of neurons (or neural groups) 1, 3, 7, and 9. Now suppose that the residual pathways of vision, the subliminal stimulus, the post-hypnotic suggestion, or whatever, are enough to activate 1 and 3, but not 7 or 9. As a result, there is no conscious experience of object A. But when it comes to pointing at random, or choosing what to do next, the fact that 1 and 3 are still ‘reverberating’ from the earlier stimulus predisposes us towards the choice of A over there, rather than say, B down there which would require activation of 2, 4, 6 and 8.

Imageless Test

Just got some Infra-red glowsticks in the post, unfortunately, my camera battery’s dead, and I’ve got no charger here, but basically, it’s a glowstick, and you can’t see the light it gives out.

I also got one of those “invisible ink” pens that were so much fun as a child, which uses ultraviolet ink, as infrared ink appears to be impossible to find in the UK, and importing it over costs far too much.

Infrared Photography — a look at the Fuji IS Pro

I’ve been doing some research over the last few days about getting a new digital camera. I’m more than happy with doing most of my photography on a film camera, like my Nikon F100 or Hasselblad 500c/m, depending on what I want to shoot, but my Nikon D50 is starting to show its age.

That’s not to say that it sucks, because it doesn’t. But at the moment, I’m looking for a camera that can do interesting things that I can’t do as easily with film.

This is where infrared photography comes in. I shot a roll of the now discontinued Kodak HIE a few years ago, and while it was a major pain in the arse, it was also a great learning experience, as I had to load the film in complete darkness, shoot with a dark red filter on the lens, and focus to a wavelength I couldn’t actually see. I’d get some more HIE if I could, but being discontinued, people are selling expired rolls of 36 exposure 135 film for over 20 quid, which, frankly is a piss take.

Below are a few images from that roll of film. They’re not particularly well exposed, but the results are, I think, interesting.

I read about converting existing digital cameras to only shoot in IR a few years after shooting that first and only roll of HIE, where the filter in front of the camera’s sensor is replaced from an infrared blocking filter to one that blocks visible light wavelengths, which looks like a great option, but it has associated problems, the main one being needing to buy a new (or secondhand) camera and playing around with it’s insides, voiding the warranty at the same time…

At the same time, I was just browsing other DSLR cameras and remembered that Fuji offered a range of cameras that used Nikon’s F Mount, so while looking at those, I came across the Fuji IS Pro, which is aimed at forensics, law enforcement and astronomy use, with its ability to see in the IR and UV parts of the electromagnetic spectrum.

Here’s what Fuji have to say about it:

The IS Pro, utilises Fujifilm’s Super CCD Pro and Real Photo Processor Pro technology to see light from the ultraviolet (UV), visible and near infrared (IR) portion of the spectrum (approx. 380nm – 1000nm)

The ultimate goal in development of Fujifilm’s D-SLR cameras has been to maximise image quality through constant R & D into the Company’s proprietary sensors. With the introduction six years ago of the acclaimed Super CCD, Fujifilm has moved away from increasing the pixel density in favour of image quality developments that increase the overall performance of the sensor.

The FinePix IS Pro will see the refinement of a winning formula — Fujifilm’s Super CCD SR II will be updated to the new Super CCD SR Pro. Using a unique layout of twelve million paired photodiodes (6.17 million larger ‘S’ photodiodes for main image information, combined with 6.17 million smaller ‘R’ photodiodes for bright area information), the IS Pro will deliver improvements in noise, dynamic range, colour and tonality. Further improving the capability of the sensor, a new, improved low-pass filter will ensure that moiré and noise are kept to an absolute minimum.

Fuji technicians believe improvements in these key areas will be of more true value to professional photographers — the challenge is quality of information, not quantity of information.

The clincher here is that it’s dirt cheap for such an interesting camera, with one showing up on Google for under £400. It’s definitely a purchase I’m going to consider quite seriously as IR photography has interested me for a long time.

Where does this tie into my Design for Simulation project? Well, it was thinking about the IR in the project that got me thinking back about the photographs I’d taken, and how interesting it was to see the world in a different way.

Project Proposal

Kingston College BA Digital Arts

Design for Simulation: Project proposal

I propose to build a piece of installation art for my Design for Simulation project.

The objective of this project is to explore the philosophical ideas and implications of the real, as seen by the idea of Ontology, through making people consider things that are intangible to their senses, but known to their brain.

The installation will comprise of a room, at the corners of which will be found one loudspeaker. All of these loudspeakers will be connected to a frequency generator. The walls of the room will be covered in writing, written in an infrared ink.

The loudspeakers will generate an ultrasonic frequency, which is inaudible to the human ear, and, unlike an infrasonic frequency, it will not create a detectable physical vibration in the room. Similarly, the walls will be covered in writing written in infrared ink. The ink will not be visible to the human eye, and will not be at all visible on the walls to the naked human eye.

When walking into the installation, immediately to people’s side, will be an explanation of what is going on in the room written on a plaque or other display method. They will be told that sound is coming out of the loudspeakers, and that there is something written on the wall.

Except that what people will be told will be a lie.

There will be no sounds emanating from the speakers, and nothing written on the walls. The artwork will be as much an exploration of the human concepts of the real as they will be of people’s trust in an artist. There are various reasons for doing this.

  1. I wish to explore a particular idea, but I don’t possess the required equipment, or the finances to acquire the requisite equipment.
  2. Because people are not meant to be able to see or hear anything in particular, the artwork is in no way diminished by not actually carrying out the actions which I claim it does.

What I’m trying to do with this project is to instil the idea in people that we’re being tricked by our physical senses. What we perceive as real is only a small part of what is around us, and that, due to our innate biological limitations, our senses are inadequate in deciphering whether something is real or not. As such, the world that we live in can easily be seen as a form of illusion.

http://prezi.com/uf6_8cffkj9u/design-for-simulation/

The World as a Simulation

Via PCGamer.

Have you ever wished that you could walk down the street looking like a video game character from the late ’90s? Have you ever dreamed of being a blocky, polygonal person, covered in blurry textures? Now you can, and it’s all thanks to Marc Owens’ ‘Avatar suit’. This is the strangest thing you’ll see all day.

Here it is, in all its low-fi glory. There’s a man in there somewhere. Look, you can see his chin, though it’s impossible to discern the expression on his face. Is he laughing or crying? It’s impossible to tell.

The costume alone isn’t the best part, the camera is. That white object sticking out of the back of holds a camera behind the suit. This then films you in third person as you go about your daily business and projects the image into the VR headset. The result? You can go through life looking as though you’re in a game, when actually you’re in frozen food bit in Tesco.

avatar man

As ideas for a Design for Simulation project go, this is a crazy one.

Lev Manovich — Simulation vs Representation

In his introduction to The Language of New Media Lev Manovich distinguishes between representation and simulation. Summarise this distinction and discuss with reference to any ideas that you have for your design for simulation project.

Lev Manovich describes representation as an artifact or object that uses a screen to show something, such as a painting, film or television. In contrast, he describes simulation as being something that completely immerses a person within a virtual or real environment, for example ancient churches and cinema theaters.

I like these definitions, because conventionally, I think people often struggle to think of the difference between the two words, and Manovich manages to make a clear and concise distinction between the two things.

Manovich’s idea of simulation is relevant to my project because my aim is to create an installation which completely immerses the viewer within an environment that I’ve created.

Plato — Binary Logic

How useful is binary thinking in a contemporary context?

Personally, I don’t believe that binary thinking is at all useful, or even relevant in a contemporary context.

It represents an incredibly naïve, irrational, or even a stubborn view of how the world works.

Naïve, in the sense that it overly simplifies things that are complex, an example of this would be something like theft. Theft is, by all accounts, wrong. But, when taken in context of stealing food for survival, or the well-known example of Robin Hood stealing from the rich to give to the poor, things become a great deal more muddled, and there’s no clearly defined right or wrong.

Irrational, in terms of it being related to a very emotional type of response. In times of emotional stress, people are less likely to think things through and are more less likely to consider various possibilities.

Stubborn, in the sense of it representing someone who can only see things two ways. Their way, and other’s way, with their way always being the right way. Obviously this isn’t a good way of thinking, and would be considered wrong by most sane people.

I can see how binary thinking would have been relevant in a world where society was uneducated, where people believed in the fantastical in the form of religion (they still do, unfortunately) and where people had no real understanding of how the world worked in a physical sense, but, thankfully, we’re mostly beyond that now.

Examples of Binary Thinking in the Allegory of the Cave.

Enlightenment | Ignorance
Dark | Light
Imprisoned | Free
Men | Captives
Men | Animals
Shadows | Clear Vision
Projection | Reality
Reality | Nonsense
Education | Serfdom
Clear Thought | Confusion

In reading up on some of this, I came across what I believe to quite possibly be the best word ever. Invagination.