Дисертації з теми "Aesthetic attention"

What are the psychological foundations of aesthetic experience? Disagreements about how to answer this question underlie tensions between the experiences described by those in the developing field of everyday aesthetics and many art-centred accounts of aesthetic experience. I argue that neither has provided the psychological framework to support their arguments in favour of or against the extension of aesthetic experience into everyday life. Such a framework is required in order to reconcile the two fields. This thesis aims to develop an empirically informed aesthetic psychology which accommodates both everyday and paradigmatic aesthetic experience without compromising what is distinctive about each. In order to understand the oft-unacknowledged assumptions in everyday and mainstream accounts of aesthetic experience I distinguish between “broad” and “narrow” aesthetic psychology. I argue that each approach differs with respect to the necessity of attention for aesthetic experience. The narrow approach to aesthetic psychology underlies many contemporary accounts and places an “attention condition” on aesthetic experience; the broad approach underlies many accounts of everyday aesthetic experience and involves no such condition. I develop a broad psychological account of aesthetic perception as the perceptual representation of bound qualities and suggest that its minimal or “bare” form goes on in the absence of attention, whilst its “rich” form requires attention and supports characteristically appreciative activities of mind. Using contemporary empirical and philosophical work on attention and its relation to consciousness and cognition I argue that there is an attention condition on rich aesthetic perception (and aesthetic appreciation), but not on bare aesthetic perception: this establishes a broad aesthetic psychology. In this way I reconcile everyday and mainstream aesthetic experience by creating a continuum of aesthetic engagement which runs from the fleeting and unattended experiences of broad aesthetic psychology to the complex and appreciative experiences of narrow aesthetic psychology.

We read a novel one sentence at a time. The first scale of attention for even the longest novel is the play of forces within the thousands of individual sentences. This project aims to rescale the analysis of novelistic form, elucidating this play of forces: how do they shape attention, and how do structures of attention give rise to aesthetic experience? We recognize the importance of form in music and architecture in part because there is no referential content to distract us. When it comes to the realist novel, however, its rich referential field easily obscures the dynamics of experience created by form. This study seeks to elucidate those dynamics. Chapter One analyzes Austen’s long interval of tension. Austen’s capacious sentence stretches attention over an entire descriptive event, producing drama and crises even when events in the fictional world are characterized by equilibrium and serenity. With the syntax of the sentence unresolved, attention cannot rest. An achieved description thus has perceptual corollaries in temporal commitment, and in attention that is divided between the immediate claims of elaboration and the prospect of closure. In Dickens, microstructures of just one to three sentences elicit the sudden apercu. Like metaphor, the apercu emerges through our recognition of a meaningful relationship between actions, facts, and utterances. Dickens presents only the raw materials of discovery (say, by juxtaposing a character’s mutually contradictory statements), leaving to us the second-order activity of recognition (her disingenuousness). Chapter Three examines how Hardy employs linguistic analogues to represent the essential structure of perceptual experience. Chapter Four, on late James, shows how shifts in attention on two scales produce two distinct experiences. Shifts to the periphery of a scene act as a temporal ballast, adding weight to the perceived dimensions of the passage. Shifts within the sentence elicit intense perceptual involvement, even when that absorption exceeds what is warranted by the semantic plane. The essence of the novel’s referenced world can be preserved in memory, but linguistic form resists memory; it is immediate and ephemeral. During the act of reading, it is one of the novel’s greatest pleasures.

A qualitative study of a special-needs class: how attention to aesthetic considerations informs learning and individual growth. This thesis describes a qualitative study of how attention to aesthetic considerations informs learning and individual growth in a special-needs class. The study is intended to provide an understanding of the evolving classroom environment and its influences on the individual students and myself as the teacher. The research context was a junior high school special-needs class (B111) of eleven students, one teacher and an attendant. Art-based educational research methods were used to conduct and analyze the data. Literature on aesthetics, meaning making and learning are discussed and connected to the documented comments, opinions and art works of the participants. The question whether or not a sense of belonging, if fostered through attention to aesthetic considerations, could motivate students to come to class and respect school grounds and property is addressed in the research. This qualitative study illustrates that getting to know the student population and the nature of the class and school is a crucial factor amongst others that contribute towards a healthy learning environment. This can be inspiring to administrators, educators, interior designers and architects when considering the factors involved in designing, building or organizing a school or classroom.
Étude de cas d'une classe d'éducation spécialisée : De quelle façon l'esthétisme influence-t-elle l'apprentissage et le développement personnel?Ce mémoire présente une étude de cas sur la façon dont l'esthétisme influence l'apprentissage et le développement personnel dans une classe d'éducation spécialisée. L'objectif est de mieux comprendre l'environnement évolutif de la classe et de son influence sur les élèves et sur moi-même, l'enseignante de la classe témoin. Le cadre de cette étude était une classe d'éducation spécialisée (B-111), située dans une école secondaire de premier cycle. Onze élèves, une préposée et une enseignante ont pris part à cette étude. Les données ont été recueillies et analysées à partir de méthodes issues des récentes recherches en éducation de l'art et plus précisément, sur l'enseignement à partir de l'art. La littérature sur l'esthétisme, sur la négociation de sens et sur l'apprentissage a servi les besoins de cette étude et les commentaires, les opinions ainsi que les travaux artistiques des participants y sont reliés. La question à savoir si l'esthétisme de la salle de classe crée un sentiment d'appartenance, agissant comme source de motivation sur l'assiduité en classe et sur le respect de l'établissement scolaire a été soulevée. Cette étude de cas démontre l'importance de la création de liens avec les élèves. La connaissance de la nature spécifique de la classe s'avère être un facteur crucial dans la création d'un environnement d'apprentissage sain et équilibré. Cette étude inspirera peut-être les directeurs d'école et les commissions scolaires, les décorateurs d'intérieur et les architectes, lorsque viendra le temps de concevoir les plans architecturaux, la décoration, la construction et l'organisation d'une école ou d'une salle de classe.

La présente étude s’intéresse non seulement à l’idée d’un cinéma qui pense et participe à la pensée poétique, c’est-à-dire à l’idée de « la coulée du film qui s’apparenterait à celle de la pensée » pour parler comme Norman McLaren ; elle défend également l’idée d’un cinéma poétique et d’une poétique du cinéma axés sur une esthétique nouvelle de médiation et de création qui explore l’univers poétique. En plus de s’engager dans la définition d’un cinéma de poésie et d’une poétique du cinéma, cette étude entend contribuer à la compréhension de certains mécanismes esthétiques et artistiques qui affectent poétiquement l’attention des percept’acteurs (attention poétique) lorsqu’ils sont face aux effets et aux procédés filmiques qui ne jouent plus sur des effets immersifs et déterminants comme on peut le voir dans les cinémas populaires, de divertissement, de narration, et dans les films documentaires, mais sur des indéterminations perceptives, sur « la promenade esthétique » pour parler comme Jean-Marie Schaeffer et sur la « poétique du désœuvrement ».Les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache, font naviguer les percept’acteurs – néologisme que nous employons à la place de spectateur, puisqu’il ne s’agit plus de spectacle dans ces films – dans une sphère atemporelle et les amènent à l’extérieur du temps, afin de briser la relation qu’ils entretiennent avec les films classiques et de proposer un regard nouveau de l’œuvre. Pour ces cinéastes de la poésie et de la mémoire, il s’agit de façon ambivalente de déraciner et d’ensevelir le mot, de bousculer les conventions et de rompre avec l’accoutumance à travers une vision poétique et « politique » au sens large (politico-historique) du monde, une esthétique nouvelle, un bricolage et braconnage artistique, engendrant une sorte de réinvention du langage.Mots-clés : Films-essais, modernité cinématographique, cinéma de poésie, attention esthétique, attention poétique, percept’acteurs, création artistique
The present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation

This thesis investigates the aesthetic interpretation of learning processes in television produced and broadcast in Sweden between 1956 and 1969. The thesis explores how these programmes are linked to concepts of Bildung by their aesthetics, by which the intangible cultural heritage is entrusted in the form of oral and visual traditions, storytelling and games/play, where learning is the common denominator. The programmes are divided into three categories: aesthetics of attentiveness, aesthetics of tale/storytelling and aesthetics of play. The detailed, thick, descriptions of the programmes emanating from the close-readings shall be, together with the aesthetic categories that I have formulated and expressed in a model, regarded as the survey’s key findings. The starting point of the central theoretical model of the thesis is André Malraux’s idea of an imaginary museum of imagination in which photo reproductions can constitute a collective memory, and thus bepart of an intangible heritage. Based on this idea of ​​an imaginary museum, I have constructed a conceptual model called a medial museum, valid in its own time as well as for posterity. The theoretical models that the study gain support from are characterized by phenomenological and hermeneutical perspectives, as I refer to  a phenomenological-hermeneutical method when analysing the programmes, and at the same time underline the phenomenological-hermeneutically based aesthetics in the analysed programmes, where aesthetic interpretation of learning processes in terms of attentiveness, tale and play is of a phenomenological-hermeneutic character. For a broad perspective on learning processes, theoretical support is acquired both from the German philosopher Hans-Georg Gadamer and his hermeneutic of traditions and from the French philosopher Jacques Rancière and his emancipatory ideas of pedagogy and aesthetics. Furthermore, the French philosopher Paul Ricœur and his thoughts on importance of storytelling for knowledge formation have had significant influence on the work. Regarding the concepts of play, I have made use of both Gadamer’s ideas of ​​art experience as play and of Donald W. Winnicott’s theories about play as transitional area. In the programmes’ aesthetics is found a depiction of a broadened interpretation of Bildung, where processes of learning comprise a direct sensual perceiving, attentiveness, storytelling/tale and play. Moreover, within the programmes’ managing of an intangible cultural heritage, I have found an expression of an interplay between modernity and tradition, with emphasis on the historical significance of the present, and rooting in the past of everyday life, where expectation on the future and the memory of the past can co-exist. To summarise, the study suggests the possibility to understand aesthetics as an epistemology using sensuous experience as basis for a conceptual knowledge about how to understand the world. Thereby, one can comprehend aesthetics as pedagogy per se.

Doctor of Philosophy
Environmental Design and Planning Program
Robert J. Condia
The unique contribution of Vision and the Experience of Built Environments is its specific investigation into the visual processing system of the mind in relationship with the features of awareness and embodiment during the experience of architecture. Each facet of this investigation reflects the essential ingredients of sensation (the visual system), perception (our awareness), and emotions (our embodiment) respectively as a process for aesthetically experiencing our built environments. In regards to our visual system, it is well established in neuroscience that human vision divides into the central and peripheral fields of view. Central vision extends from the point of gaze (where we are looking) out to about 5° of visual angle (the width of one’s fist at arm’s length), while peripheral vision is the vast remainder of the visual field. These visual fields project to the parvo and magno ganglion cells which process distinctly different types of information from the world around us and project that information to the ventral and dorsal visual streams respectively. Building on the dorsal/ventral stream dichotomy, we can further distinguish between focal processing of central vision and ambient processing of peripheral vision. Thus, our visual processing of, and attention to, objects and scenes depends on how and where these stimuli fall on the retina. Built environments are no exception to these dependencies, specifically in terms of how focal object perception and ambient spatial perception create intellectual and phenomenal experiences respectively with architecture. These two forms of visual processing limit and guide our perception of the built world around us and subsequently our projected and extended embodied interactions with it as manifested in the act of aesthetic experience. By bringing peripheral vision and central vision together in a balanced perspective we will more fully understand that our aesthetic relationship with our built environment is greatly dependent on the dichotomous visual mechanisms of awareness and embodiment.

La thèse se propose d’analyser la structure esthétique de l’expérience cinématographique. On part d’une définition du film comme flux (audio-)visuel qui a un début, un déroulement et une fin. Partant du constat de ce principe constructif, la thèse entend montrer comment la structuration temporelle des films engendre des différences cognitives dans l'expérience spectatorielle. La notion de « structuration temporelle » renvoie à l'ordonnancement des plans et des sons dans leur durée en succession et/ou en simultanéité, tandis que l'adjectif « cognitif » fait référence aux processus d'acquisition et d'usage de nos connaissances. L’étude se fonde sur l'esthétique de Kant, la phénoménologie de Husserl, l'analyse du cinéma de Deleuze, l'Intentionnalité chez Searle, ainsi que la théorie esthétique et la théorie cognitive de la fiction de Schaeffer, dans une perspective interdisciplinaire et en prenant appui sur les données empiriques des sciences cognitives. La thèse déploie une analyse comparative du déroulement des processus de la réception cinématographique – la perception, l'attention et la compréhension – et rend compte des différents temps de cette réception, c’est-à-dire de la relation entre l'objet film et les spectateurs. L’objectif est double : il s’agit, d’une part, de mettre au jour les implications cognitives de la technique cinématographique dans l'expérience spectatorielle, en considérant notamment la fonction de cette technique et les principes, issus de l’Intentionnalité des auteurs, qui y sont inscrits ; et, d’autre part, d’évaluer la portée de ces principes constructifs et Intentionnels dans le cinéma contemporain, les dernières décennies ayant été marquées par une radicalisation progressive du rythme des films. Le cinéma devient à ce titre un exemple des structures temporelles qui soutiennent notre relation au monde réel
The aim of this thesis is to analyze the aesthetic structure of the cinematographic experience. We depart from a definition of film as an (audio)visual flux with a beginning, an evolution, and an end. From the evidence of this constructive principle, this thesis intends to show how the temporal structure of films generates cognitive differences in the spectators' experience. The notion of “temporal structure” is related to the ordering of shots and sounds within their durations in succession and/or in simultaneity, while the adjective “cognitive” refers to the acquisition process and use of our knowledge. This study is based on Kant's aesthetics, Husserl's phenomenology, Deleuze's cinema analysis, Searle's Intentionality, and Schaeffer's aesthetic and fiction cognition theories, in an interdisciplinary perspective, drawing on cognitive sciences empirical data. It is a comparative analysis of the unfolding of the cinematographic reception process – perception, attention and comprehension – and takes the different times of this reception into account, that is, the relation between the object film and the spectators. The objective is twofold: on the one hand it is a question of uncovering the cognitive implications of the cinematographic technique for the spectators' experience through close consideration of the functions of this technique and the principles which the authors’ Intentionality have inscribed upon it; on the other hand, it is a question of evaluating the scope of these constructive and Intentional principles on contemporary cinema, as recent decades have emphasized the progressive radicalization of filmic rhythm. Cinema becomes as such an example of the temporal structures that uphold our relation to the real world

L'activité théorique et pratique d'Experiments in Art and Technology (E.A.T.) soulève un certain nombre de problèmes esthétiques, ceux posés par une organisation qui soutient la collaboration entre artistes et ingénieurs, à l'intérieur comme à l'extérieur du monde de l'art. Cette thèse interroge l'irruption, jugée symptomatique, de la question environnementale en art, et la mobilisation, par les principaux acteurs d'E.A.T., du concept équivoque d'environnement pour désigner non seulement ce qui nous entoure, mais aussi ce qui peut nous influencer. En confrontant les propos de John Cage, Robert Whitman et Robert Rauschenberg sur leur pratique à des œuvres de références attestant de l'imprégnation des technologies dans nos existences on identifie une approche environnementale qui participe d'une explicitation, par l'art, de l'environnement contemporain. Ces artistes s'efforcent en effet de mettre en évidence, par leur travail, les qualités esthétiques d'un environnement naturel et artificiel, à l'égard duquel on ne peut plus être indifférent. L'attention portée à la perception dans l'expérience de cet environnement, témoigne d'un intérêt commun pour une physique phénoménale qui, bien qu'en relation avec des préoccupations scientifiques, s'en démarque cependant. Il s'agit non seulement de transformer cet environnement diffus en un espace perçu, mais également d'interroger la place et le rôle de l'artiste dans la mise en forme de l'environnement humain. S'élabore ainsi avec E.A. T., une recherche-action centrée sur l'individu, et qui envisage la possibilité, non plus simplement de vivre dans, mais d'exister avec son environnement
The theoretical and practical activity of Experiments in Art and Technology (E.A. T.) raises a number of aesthetic problems - those posed by an organization whose aim was to facilitate and encourage collaboration between artists and engineers, both inside and outside the art world. This thesis investigates the eruption of environmental issues in art and the use made by E.A.T.'s main actors of the ambiguous concept of the environment, a concept which includes not only what surrounds us but also that which can have an influence on us. By juxtaposing and comparing what John Cage, Robert Rauschenberg and Robert Whitman had to say about their practice with key works on the infiltration of technology into our lives, we will identify an environmental approach that is part of an “explicitation” of the contemporary environment by and through art. These artists strive to highlight, through their work, the aesthetic qualities of a natural and artificial environment, the consequences of which cannot leave us untouched or indifferent. The focus on perception in the experience of this environment reflects a common interest in a 'phenomenal physics' which, even if related scientific concerns, also differs significantly from them. It is not only a question of the transformation of this pervasive environment into a perceived space but also a matter of investigating the place and role of the artist in the shaping of the human environment. Thus we see in E.A.T.'s program an activity a form of action-research focused on the individual, which envisages also the possibility not only of living in but of existing with one's environment

This thesis concerns the 2.0 decade, the decade when the social web started to develop. The main research objective is to contribute to our embedment in Internet technology in a conscious and livable way. The thesis is part of a general attempt to improve our understanding of the transformation taking place in the development of the web. We live in a time when knowledge contexts are moving from expert knowledge towards conversational knowledge. My research is mainly presented in the form of five essays. This thesis can be described as a conversational analysis of knowledge processes during the 2.0 decade. The 2.0 decade came to life in the wake of the information technology bubble in the end of the 1990s. The first decade of the 2000s was the decade when 'the Web' became 'Web 2.0' and the energy of the Internet switched from monetary speculations to conversations. Everyone wanted to start conversations and build digital technology, which induced conversations. Like the concept Web 2.0, this thesis came to life in the wake of the information technology bubble. It presupposes the knowledge relation between humans and our technology to be conversational rather than rational. This basically means that digital technology is not a tool but an integrated part in the person assemblage. There are many important thinkers embedded in this thesis. Some of them are more important than others, notably Gilles Deleuze and Donna Haraway. However, the thesis does not analyze the text of other thinkers, it involves them in the conversation. Important concepts as assemblage, rhizome (Deleuze) and cyborg (Haraway) are participants in the text rather than being its objectives. They are part of the general experience behind the essays, together with all the persons I have linked up to and the digital technology I have tried to become with. To become with (or develop together with) technology means to acknowledge the idea that technology is more than a tool. It is something within, not something external.

博士
國立政治大學
企業管理學系
106
This thesis aimed to ascertain how consumers would evaluate the similarity and make aesthetic judgement between the original logo and the new logo of a brand in the process of a brand’s reform or a brand extension. Through a qualitative interview and three experiments, the study explored the process of consumers' aesthetic comparison and judgment on the aesthetic similarity between logos using the structural alignment theory and attention-driven perspective. In the qualitative in-depth interview, a total of nine aesthetics principles that consumers used in the logo comparison process was elicited and then classified into two categories. The first category is concrete aesthetic principles which include: color, lightness, color harmony, structural symmetry, and balance of structure. The second category is interpretational aesthetic principles which entail: meaning, sense of design, simplicity in the design concept, and modernity. A further analysis of the aesthetic principles and their alignable and non-aligable attributes showed that non-alignabilities outnumbered alignabilities in interpretational aesthetic principles when consumers were given the task to make aesthetic choices. On the other hand, more alignabilities than non-alignabilities were identified in concrete aesthetic principles in consumers’ aesthetic judgment. In addition, the number of alignabilities exceeded that of non-alignabilities in both concrete and interpretational aesthetic principles in the similarity task. Study two was a 2 (concrete aesthetic principle vs. interpretational aesthetic principle) x2 (alignable difference vs. non-alignable difference) factorial experiment designed to test the influence of different design combinations on aesthetic comparison and similarity judgment. The result showed that consumers significantly relied more on alignable difference attributes than on non-alignable difference attributes when asked to evaluate the similarity between the original logo and the new logo, while non-alignable differences had a greater influence on their aesthetics judgment. The study assumed that aesthetic principles would be influenced by the presentation and the evaluation task. Differences between alignable and non-alignable presentations observed in the two tasks under any of the same aesthetic principle were examined. The hypothesis was supported by the result. In the similarity task, differences between alignable and non-alignable presentations under concrete aesthetic principles were bigger than those found under interpretational aesthetics principles. Moreover, in the aesthetic judgment task, differences between alignable and non-alignalbe presentations found under interpretational aesthetics principles were bigger than those under concrete principles. Study Three and Four extended the result of Study Two in the context of brand extension. The assumption of the two experiments was held that the influence of aesthetic principles and alignablities would be moderated by the distance between the categories of the original product and extension product. Generally, consumers relied on alignable difference attributes to compare the similarity of the two logos and non-alignable difference attributes to make aesthetic judgment. Nonetheless, the moderator effect of the distance of the categories of the original and extension products were not significance. The study found that non-alignable difference attributes were more important than alignable ones when making aesthetic judgement. Also, alignable difference attributes played a greater role in similarity judgment. The theoretical contribution of this study is to test the alignabilitiy effect on integrated graphic messages. This study clarified the influence of the relationships between alignable and non-alignable attributes and aesthetics principles. The importance of non-alignable difference attributes will be established only when the attribute content requires high cognitive resources like interpretational aesthetic principles. The commercial applications expected in this study, are to provide new references for logo designs. If a new brand is to incorporate aesthetic elements into its logo design, it is advised to add a unique interpretational aesthetic element. If a company is looking to strengthen the link between its consumers and its existing brands, it may consider employing design elements of its existing brand logo to create an alignable difference.

碩士
輔仁大學
心理學系
96
The appearance of product design may concurrently or sequentially induce multiple cognitive and affective experiences. The cognitive mechanism underlying the affective experience such as preference and aesthetics is of the interest of emotion and cognition theoretical analysis as well as product design. The goal of this study was to determine the impacts of attentional capture, aesthetics experience, and preference on memory performance and to explore the relations among theses variables Three experiments adopting the Remember / Know procedure (Tulving, 1985) examined the relations and impacts of attentional capture, aesthetics experience and preference on the awareness state of recognition memory. Knowing reflects the awareness of the recognized object or knowledge, however, not the recollection of specific or detail information. In contrast, remembering reflects the awareness state that the detail or particular information can be specifically recollected. In addition to the Remember / Know task, different types of encoding were manipulated in three experiments by adopted the paradigm of Ochsner (2000). In Experiment 1, participants were instructed to perform a subjective rating on the degree of attentional capture and aesthetics of each picture. In Experiment 2, participants were instructed to suggest a better size of objects related to the fixed size frame for each picture. In Experiment 3, participants were instructed to judge the color category of the object for each picture. Both experiments 2 and 3 had subjects to perform a task that is not directly relevant to attentional capture, aesthetics and preference. The coding time in experiment 2 was unlimited while that in experiment 3 was limited to 500 ms. Experiment 1 discovered the different degrees of correlations between ratings of attentional capture, aesthetics experience, and preference. Through three experiments, attentional capture showed significant impacts on hit rate of remembering, no matter with what kind of encoding types. Objects with high attentional capture appearance were remembered better than those with medium and low attentional capture. Attentional capture also showed significant impacts on discriminate (d’) of remembering with deep encoding depth (exp 1 and exp 2). High attentional capture leads to better discriminate of remembering performance than medium and low attentional capture. Aesthetics experience had no impact on hit rates of remembering and knowing. However, aesthetics experience affected false alarm rate of knowing. Positive aesthetics experience lead to more knowing responses, although the participants never saw the object before. This effect happened especially when the participant did not directly aware to the aesthetics experiences (exp 2 & exp 3). Preference also showed significant impact on hit rate of remembering responses. Objects with high preference were remembered better than those with medium and low preference, no matter with deep or shallow encoding. Besides, preference also affects false alarm rate and d’ of knowing, with shallow coding, there were lesser false knowing and higher d’ for high and low preferred objects than the medium preferred objects. Subjective ratings of attentional capture is moderately correlated with aesthetics experience and preference (r = 0.66 and 0.71) and aesthetics is highly correlated with preference (r = 0.88), but the impact pattern of these factor on remembering and knowing are different.

Cette thèse de doctorat propose une analyse des temporalités narratives dans les séries télévisées récentes Life on Mars (BBC, 2006-2007), Flashforward (ABC, 2009-2010) et Damages (FX/Audience Network, 2007-2012). L’argument général part de la supposition que les nouvelles technologies télévisuelles ont rendu possible de nouveaux standards esthétiques ainsi que des expériences temporelles originales. Il sera montré par la suite que ces nouvelles qualités esthétiques et expérientielles de la fiction télévisuelle relèvent d’une nouvelle pertinence politique et éthique du temps. Cet argument sera déployé en quatre étapes. La thèse se penche d’abord sur ce que j’appelle les technics de la télévision, c’est-à-dire le complexe de technologies et de techniques, afin d’élaborer comment cet ensemble a pu activer de nouveaux modes d’expérimenter la télévision. Suivant la philosophie de Gilles Deleuze et de Félix Guattari ainsi que les théories des médias de Matthew Fuller, Thomas Lamarre et Jussi Parikka, ce complexe sera conçu comme une machine abstraite que j’appelle la machine sérielle. Ensuite, l’argument puise dans des théories de la perception et des approches non figuratives de l’art afin de mieux cerner les nouvelles qualités d’expérience esthétique dans la fiction sérielle télévisée. Pour ce faire, je développe le concept de figure de temps définie comme la forme abstraite, immédiatement ressentie, du mouvement temporel effectué par un récit. Il sera montré, en troisième lieu, que ces mouvements figuraux mettent en jeu l’orientation vers l’avenir et la préemption. Tous les récits du corpus anticipent leur propre fin et prennent forme en fonction de cette fin prédite, ce pourquoi ils seront appelés récits préemptifs où l’avenir pose un problème affectif plutôt qu’épistémologique. Je montre que, dans ces séries, la boucle passant par l’avenir est immédiatement ontogénétique dans la mesure où elle crée la réalité dans le présent en suscitant l’incertitude et la peur. Enfin, la thèse soutien qu’une telle politique affective fait partie de ce que Gilles Deleuze appelle les « sociétés de contrôle » qui opèrent une modulation continue des conditions de vie de l’individu. En suivant les écrits de Deleuze sur les sociétés de contrôle et sur l’Éthique de Spinoza, je suggère que les exigences d’un tel environnement modulant sont éthiques (plutôt que morales). Seront ensuite décortiquées les complexes de techniques, appelés procédures suivant les artistes-philosophes Madeline Gins et Arakawa, qui soutiennent une éthique pour survivre la société de contrôle dans la série Damages.
This thesis examines complex narrative temporalities in the recent television series Life on Mars (BBC, 2006-2007), Flashforward (ABC, 2009-2010), and Damages (FX/Audience Network, 2007-2012). The general argument proposes that the renewed technics of television have enabled innovative aesthetic standards and temporal experiences in serial TV fiction. It is subsequently shown that these new aesthetic and experiential qualities of TV fiction are correlative to an increased political and ethical relevance of time. This overall argument is laid out in four major steps. The project first addresses the technics of recent television to show how new technologies have enabled new techniques of experiencing television. Drawing on the philosophy of Gilles Deleuze and Félix Guattari as well as the media theories of Matthew Fuller, Thomas Lamarre, and Jussi Parikka, the complex and productive linkages between technology and techniques will be theorized as an abstract machine which I call the serial machine. The argument then draws on theories of perception and nonrepresentational approaches to art in order to analyze the new qualities of aesthetic experience in serial TV fiction. For this purpose, I develop the central concept of the figure of time understood as the directly felt abstract shape effectuated by a narrative’s movement through time. It will be seen, in a third step, that the figural movements discussed in this thesis concern questions of future-orientation and preemption. All of the narratives in this project anticipate their own ending and take form with respect to this foretold future. They are therefore conceptualized as “preemptive narratives,” in which the future poses an affective rather than epistemological problem. I will show that, in the serial narratives under discussion, the preemptive loop through the future is immediately ontogenetic in that it creates a reality in the present by inducing uncertainty and fear of the future. Finally, the thesis proposes that such affective politics are an element of what Gilles Deleuze calls control societies, in which conditions of life are constantly modulated. Following his writings on control societies and Spinoza’s Ethics, it is argued that the requirements of such a modulatory environment are ethical in nature (rather than moral). Drawing on the work by artists-philosophers Madeline Gins and Arakawa, I elaborate the techniques of attention which sustain an ethics for surviving the control society in the TV series Damages.
Faute de droits d'auteurs pour les captures d'écrans, mon document ne contient pas d'images. Si vous voudriez consulter ma thèse avec les images, veuillez me contacter.

This dissertation develops computational models to address outstanding problems in the domain of expectation-related cognitive processes and their neuroimaging markers in functional MRI or EEG. The new models reveal a way to unite diverse phenomena within a common framework focused on dynamic neural encoding shifts, which can arise from robust interactive effects of M-currents and chloride currents in pyramidal neurons. By specifying efficient, biologically realistic circuits that achieve predictive coding (e.g., Friston, 2005), these models bridge among neuronal biophysics, systems neuroscience, and theories of cognition. Chapter one surveys data types and neural processes to be examined, and outlines the Dynamically Labeled Predictive Coding (DLPC) framework developed during the research. Chapter two models hippocampal prediction and mismatch, using the DLPC framework. Chapter three presents extensions to the model that allow its application for modeling neocortical EEG genesis. Simulations of this extended model illustrate how dynamic encoding shifts can produce Mismatch Negativity (MMN) phenomena, including pharmacological effects on MMN reported for humans or animals. Chapters four and five describe new modeling studies of possible neural bases for alpha-induced information suppression, a phenomenon associated with active ignoring of stimuli. Two models explore the hypothesis that in simple rate-based circuits, information suppression might be a robust effect of neural saturation states arising near peaks of resonant alpha oscillations. A new proposal is also introduced for how the basal ganglia may control onset and offset of alpha-induced information suppression. Although these rate models could reproduce many experimental findings, they fell short of reproducing a key electrophysiological finding: phase-dependent reduction in spiking activity correlated with power in the alpha frequency band. Therefore, chapter five also specifies how a DLPC model, adapted from the neocortical model developed in chapter three, can provide an expectation-based model of alpha-induced information suppression that exhibits phase-dependent spike reduction during alpha-band oscillations. The model thus can explain experimental findings that were not reproduced by the rate models. The final chapter summarizes main theses, results, and basic research implications, then suggests future directions, including expanded models of neocortical mismatch, applications to artificial neural networks, and the introduction of reward circuitry.