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Journal articles on the topic 'Visible figure'
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1
Wilson, Keith A. "Reid's Direct Realism and Visible Figure." Philosophical Quarterly 63, no. 253 (September 13, 2013): 783–803. http://dx.doi.org/10.1111/j.1467-9213.2013.02002.x.
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Yaffe, Gideon. "Reid on the Perception of Visible Figure." Journal of Scottish Philosophy 1, no. 2 (September 2003): 103–15. http://dx.doi.org/10.3366/jsp.2003.1.2.103.
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Gavronsky, Serge. "Mallarmé visible et invisible." TTR : traduction, terminologie, rédaction 12, no. 1 (February 26, 2007): 115–30. http://dx.doi.org/10.7202/037355ar.
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Résumé Mallarmé visible et invisible — Le grand poète américain Louis Zukofsky, fondateur de l'école dite Objectiviste, dans la lignée de l'épique, incorpore la totalité du vécu. Dans cette vaste entreprise, intitulée « A », Mallarmé figure brièvement mais jamais jusqu'à présent n'a-t-on relevé les nombreuses naturalisations textuelles où le poète français, « translaté » en anglais dans « A »-19 (sans attribution aucune), non seulement figure dans l'oeuvre zukofskienne mais l'inspire profondément.
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Grandi, Giovanni B. "The extension of color sensations: Reid, Stewart, and Fearn." Canadian Journal of Philosophy 41, S1 (July 2014): 50–79. http://dx.doi.org/10.1080/00455091.2014.897475.
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According to Reid, color sensations are not extended nor are they arranged in figured patterns. Reid further claimed that ‘there is no sensation appropriated to visible figure.’ Reid justified these controversial claims by appeal to Cheselden's report of the experiences of a young man affected by severe cataracts, and by appeal to cases of perception of visible figure without color. While holding fast to the principle that sensations are not extended, Dugald Stewart (1753–1828) tried to show that ‘a variety of colour sensations is a necessary means for the perception of visible figure.’ According to John Fearn (1768–1837), two motives appear to be central to Reid's views about color sensations and extension: his commitment to the Cartesian doctrine of the immateriality of the soul, and his attempt to evade ‘Hume's dilemma’ about the existence and immateriality of the soul.
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Ryan Nichols. "Visible Figure and Reid's Theory of Visual Perception." Hume Studies 28, no. 1 (2002): 49–82. http://dx.doi.org/10.1353/hms.2011.0196.
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Takeichi, Hiroshige. "The Effect of Curvature on Visual Interpolation." Perception 24, no. 9 (September 1995): 1011–20. http://dx.doi.org/10.1068/p241011.
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The effect of curvature on visual interpolation in partly occluded figures was examined. In experiments 1 and 2, the shape of a visually interpolated contour was measured by using a partially occluded triangle or a partially occluded circle as the target figure. The targets were cut off at both sides, with varying width from trial to trial. In experiment 1, the peak height, which was supposed to represent the shape of the interpolated contour, was measured for each target for each size of the visible part. A significant effect of curvature, as the difference in the peak height between the targets, was found when the width of the visible part was 10 to 20 min. The effect became stronger linearly with increasing length of the visible contour (the buildup effect). The effective curvature thus appeared to be measured along the visible contour in terms of the change of orientation. In experiment 2, the scale invariance of the buildup effect was examined with varying observation distance. It was found that the effect remained the same across scale if the effect was described in terms of visual angle of the visible arc, but not in terms of the proportion of the visible part to the whole figure. This suggests that the effect is derived from the visible contour, but not from the likelihood of the estimated shape of the partly occluded figure. It has been concluded that the curvature induces curved interpolation and that the curvature of the visible contour is measured along the contour as the change of orientation.
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Huang, Ling, Lijuan Wang, Wangming Shen, Mengsha Li, Shiyu Wang, Xiaotong Wang, Leslie G. Ungerleider, and Xilin Zhang. "A source for awareness-dependent figure–ground segregation in human prefrontal cortex." Proceedings of the National Academy of Sciences 117, no. 48 (November 16, 2020): 30836–47. http://dx.doi.org/10.1073/pnas.1922832117.
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Figure–ground modulation, i.e., the enhancement of neuronal responses evoked by the figure relative to the background, has three complementary components: edge modulation (boundary detection), center modulation (region filling), and background modulation (background suppression). However, the neuronal mechanisms mediating these three modulations and how they depend on awareness remain unclear. For each modulation, we compared both the cueing effect produced in a Posner paradigm and fMRI blood oxygen-level dependent (BOLD) signal in primary visual cortex (V1) evoked by visible relative to invisible orientation-defined figures. We found that edge modulation was independent of awareness, whereas both center and background modulations were strongly modulated by awareness, with greater modulations in the visible than the invisible condition. Effective-connectivity analysis further showed that the awareness-dependent region-filling and background-suppression processes in V1 were not derived through intracortical interactions within V1, but rather by feedback from the frontal eye field (FEF) and dorsolateral prefrontal cortex (DLPFC), respectively. These results indicate a source for an awareness-dependent figure–ground segregation in human prefrontal cortex.
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Takashima, Midori, Teruo Fujii, and Ken Shiina. "Amodal Completion is Not Completed Only behind the Occluder." Perception 38, no. 9 (January 1, 2009): 1410–12. http://dx.doi.org/10.1068/p6478.
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We investigated amodal completion with changes in two parameters: figure orientation, and the shape of the occluding and occluded figures. First, Markovich's [2002, Visual Mathematics4(1); http://www.mi.sanu.ac.rs/vismath/fila ] figure was presented in vertical, horizontal, and diagonal orientations. The results supported Markovich's finding of amodal completion by smooth continuity and symmetry. Amodal completion was also affected by orientation: symmetrical shape tended to appear when the pattern had vertical axis whilst smooth continuity appeared in diagonal orientation. Next, the shape of the exposed side of the occluded figure was changed from straight to curved. Finally, the shape of the grey occluder was changed from a disk to a half-disk or a quarter-disk. The results then showed the influence of the visible contour on amodal completion. This shows that the contextual relation of the whole figure is significant in amodal completion.
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Purghé, F., and A. Olivero. "Phenomenal Shrinkage and Expansion of Visual Surfaces: Is Amodal Completion a Factor?" Perception 26, no. 1_suppl (August 1997): 320. http://dx.doi.org/10.1068/v970189.
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When two figures intersect, two apparently paradoxical size effects take place (Kanizsa, 1979 Organization in Vision chapter 11): (1) the partly occluded figure looks shorter than an identical unoccluded figure, and (2) the modally visible parts of the occluded figure look larger than identical isolated parts. Kanizsa explains such effects as due to amodal completion. Three experiments were carried out by the method of adjustment to test this explanation: two were devoted to the shrinkage effect, and the third one was devoted to the expansion effect. The first experiment exploited the properties of the so-called Helmholtz - Ratoosh law (T-shaped vs Y-shaped junctions) to test whether a figural shrinkage is also present in a pattern in which amodal completion should not occur. The second experiment was aimed at checking whether stereoscopic displacement of the ‘occluded’ figure ‘behind’ or ‘in front of’ the ‘occluding’ one is capable of affecting the amount of shrinkage. In the third experiment the Helmholtz - Ratoosh law was again applied to the expansion. The results of all three experiments converge in showing that the amount of shrinkage of the whole ‘occluded’ figure as well as the ammount of expansion of the ‘modally visible’ parts are not affected by the presence or the absence of amodal completion. We conclude that both the shrinkage and the expansion effects are due to other factors, probably the same factors as those that affect classical optical-geometrical illusions, such as the Oppel - Kundt or the horizontal - vertical illusions.
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Vasyliev, Valentyn, Encarnacion G. Villora, Masaru Nakamura, Yoshiyuki Sugahara, and Kiyoshi Shimamura. "UV-Visible Faraday Rotators Based on Rare-Earth Fluoride Single Crystals: LiREF4 (RE=Tb, Dy, Ho, Er and Yb), PrF3 and CeF3." Key Engineering Materials 582 (September 2013): 194–97. http://dx.doi.org/10.4028/www.scientific.net/kem.582.194.
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High optical quality LiREF4(RE = Tb3+, Dy3+, Ho3+, Er3+and Yb3+), PrF3and CeF3single crystals have been grown by the Czochralski technique. Their magneto-optical properties have been measured and analyzed in detail in the ultraviolet-visible wavelength region, and their figures of merit as Faraday rotators have been determined. CeF3presents superior properties above 300 nm, showing a figure of merit higher than that of the reference material, terbium-gallium-garnet, which is nowadays used in the visible-near infrared. PrF3is the best rotator for the 220-300 nm range. Towards shorter wavelength and in the vacuum ultraviolet, it is shown that the LiREF4crystals are unique rotators.
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Miroshnichenko, Andrey. "The hardware and software of Trumpism: A figure/ground analysis." Explorations in Media Ecology 19, no. 1 (March 1, 2020): 55–84. http://dx.doi.org/10.1386/eme_00024_1.
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This article probes into Trumpism using McLuhan’s idea of figure/ground analysis. To make visible the hidden ground behind a salient figure (or figures), the dichotomy of instrumental and environmental approaches to media effects is introduced. The widely used instrumental approach is rooted in the long-standing Lasswellian tradition of communication studies (‘who says what, in which channel, to whom, with what effect?’). The instrumental explanations of Trumpism are unavoidably reductionist, as they focus on figures and, therefore, overemphasize rationality and agency in media use. On the contrary, the environmental approach focuses on hidden ground and explores what environmental forces originate from new media’s proliferation and how these forces reshape habitat and inhabitants. To apply this view, the article examines the environmental factors within the news industry and social media that are favourable to Trumpism: the commodification of Trump by the media, the morphological conflict between broadcasting and engaging modes of agenda-setting, the built-in polarization of social media and others.
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Tuinen, Sjoerd van. "Michelangelo, Leibniz and the Serpentine Figure." Deleuze Studies 5, no. 1 (March 2011): 63–72. http://dx.doi.org/10.3366/dls.2011.0007.
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In his lectures from 1987, Deleuze draws an analogy between Michelangelo's figures and Leibnizian substances by claiming that neither are essences but rather sources of modifications or manners of being. The best way to explore this analogy, I argue, is by focusing on Michelangelo's preference for serpentine shapes. By putting key passages from The Logic of Sensation, The Fold: Leibniz and the Baroque and What is Philosophy? in resonance with the Leibnizian accounts of corporeal aggregates and possible worlds on the one hand and art history on the other, I will try to develop a Deleuzian concept for the typically Mannerist ideal of the serpentine figure. Although Deleuze usually prefers to speak in musical terms of refrains and counterpoints by which various blocs of sensation resonate with each other, in the visual arts it is the serpentine figure that renders visible sensory becoming as a rhythmic counter-positioning of possible worlds within a single body without organs.
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Dhobi, Saddam Husain, Kishori Yadav, and Bhishma Karki. "Variation of Energy Density and Mass Density of Photon with Wavelength." Indian Journal of Advanced Physics 1, no. 2 (October 10, 2021): 1–5. http://dx.doi.org/10.35940/ijap.b1003.101221.
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The mass density and energy density of visible photon is calculated as and , respectively. Moreover it is also observed that mass density and energy density of photon depend upon photons mass, wavelength, volume and energy. This is clear from figure 1, figure 2 and literatures. Therefore the mass density and energy density of photon varies with masses of photon, wavelength, volume, etc.
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Xin, Liu. "Screened screens screening: Boundaries and boundary-drawing practices during COVID-19." Journal of Environmental Media 1, no. 2 (August 1, 2020): 1.1–1.7. http://dx.doi.org/10.1386/jem_00022_1.
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This short piece concerns the figure of the screen as a boundary object and screening as a boundary-drawing practice during COVID-19. The screen is understood of as a surface that filters, shields, protects, conceals, mediates, intrudes and on which images can be projected and made visible. This text links together and thinks through various instantiations of the figure of the screen, such as digital screens and face masks. In so doing, it makes visible the ways in which the digital, affective and embodied screens and screening practices shape the perception of and response to COVID-19 in various contexts, as well as the multiple and often contradictory ways in which boundaries of spaces and bodies are materialized and undone.
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Herman, Peter. "The Blackness of Liet-Kynes: Reading Frank Herbert’s Dune Through James Cone." Religions 9, no. 9 (September 18, 2018): 281. http://dx.doi.org/10.3390/rel9090281.
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Frank Herbert’s landmark science fiction novel Dune has received numerous sequels, prequels, and film treatments. Detailing the saga of humanity’s far future beyond our present solar system, the work plays successfully with religious, political, and ecological themes. This essay deals with the social/theological implications of two figures within the story-world of Dune: Its protagonist and visible hero, Paul Atreides/Muad’Dib and the lesser figure of the “Imperial Planetologist” Dr. Kynes, also known to the Fremen as “Liet”. By reading these two figures through the theology of James Cone, we discover that the obvious hero is not a messianic figure but a demonic one. Further, it is the lesser character of Liet-Kynes who actually fulfills the messianic role in Cone’s theological system. This essay is preceded by and makes use of Jeremy Ian Kirk’s work with the film Avatar that provides similar analysis. Where Kirk’s principal concern is with the ethical considerations of Avatar, this essay will more closely bear on Cone’s dynamic of redemption and conversion, specifically his notion of dying to white identity to be reborn in blackness.
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Flynn, Elisabeth L. "Moses in the Visual Arts." Interpretation: A Journal of Bible and Theology 44, no. 3 (July 1990): 265–76. http://dx.doi.org/10.1177/002096430004400305.
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Moss, Alastair J., Renzo Pessotto, and Andrew D. Flapan. "A 59-year-old woman with visible precordial pulsations." Heart 104, no. 3 (November 3, 2017): 273–74. http://dx.doi.org/10.1136/heartjnl-2017-312193.
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Clinical introductionA retired 59-year-old woman presented to the cardiology clinic concerned with cardiac pulsations that were visible on her chest wall. These were not associated with dyspnoea, syncope or chest discomfort.Of note, 8 years previously, she complained of recurrent nocturnal diaphoresis and 5 kg weight loss. Blood sampling at that time revealed a microcytic anaemia, reactive thrombocytosis and raised inflammatory markers (erythrocyte sedimentation rate 99 mm/hour, C-reactive protein 161 mg/L). Following an episode of transient diplopia, ophthalmoscopy demonstrated a cotton wool spot in the left inferotemporal retinal arcade. She commenced a 2-year tapering course of 1 mg/kg prednisolone.On examination, she had a lean physique with a supine blood pressure of 162/60 mm Hg and palpable Corrigan’s pulse. She had a prominent apical pulsation and a loud early diastolic murmur was present at the left sternal edge radiating to the apex. Echocardiography showed severe central aortic regurgitation and a dilated aortic root (see online supplementary figure 1). Cardiac CT was performed to clarify the diagnosis (figure 1).Supplementary file 1Figure 1Contrast-enhanced CT of the thorax at index presentation (A) and 6 months (B). Prospective ECG-gated cardiac CT angiogram (75% R-R interval) performed at 8 years from index presentation (C) with a stretched multiplanar reconstruction of the aortic annulus, aortic root and thoracic aorta (D).QuestionWhich of the following diagnoses best explains this presentation?Ankylosing spondylitisTakayasu arteritisSalmonellosisIgG4-related aortitisGiant cell aortitis
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McGuigan, Nicola. "Does the Direction in Which a Figure is Looking Influence Whether it is Visible?" Journal of Genetic Psychology 170, no. 3 (September 30, 2009): 227–33. http://dx.doi.org/10.1080/00221320903218232.
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Liu, Xiaolei, Wenjun Wang, Yuanyuan Liu, Baibiao Huang, Ying Dai, Xiaoyan Qin, and Xiaoyang Zhang. "In situ synthesis of Bi2S3/Bi2SiO5 heterojunction photocatalysts with enhanced visible light photocatalytic activity." RSC Advances 5, no. 69 (2015): 55957–63. http://dx.doi.org/10.1039/c5ra09070a.
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Wang, Congjun, and Martin E. Kordesch. "Carbon Surfaces and Carbon Film Morphology Studied by Emission Electron Microscopy." Proceedings, annual meeting, Electron Microscopy Society of America 48, no. 1 (August 12, 1990): 562–63. http://dx.doi.org/10.1017/s0424820100181567.
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Carbon is a pervasive contaminant on technologically important surfaces, and has long been of interest in surface science and microscopy. Recent advances in the production of high density carbon films and synthetic diamond films [1,2] have focused attention on the nucleation and growth of carbon on refractory metal substrates, semiconductors and other phases of carbon itself. Some of the issues involved are the role of carbides in promoting diamond nucleation and the specifics of graphite removal from the film through reactive sputtering or conversion to more dense phases (by as yet not understood processes).Emission microscopy, in particular photo- and thermal emission microscopy, is especially suited to the study of carbon film nucleation and growth. Carbides are easily observed. [3] Because several carbon phases have differing work functions, they may be selectively imaged by variation of the incident light wavelength, and thus the photoemission threshold, providing information on film composition in the image. Figures 1 and 2 show a Pt(100) surface covered with CO, atomic carbon and some graphitic areas, imaged with a microscope similar to the one in [3] using an HBO 100 lamp. [4] In figure 2 a 280 nm edge filter was placed in front of the lamp, so that only the graphitic areas (work function below 4.4 eV) are visible. Due to the image contrast in photoemission from differing materials, decoration of steps and defects by carbon is visible. In figure 3 step bunch edges on the Pt(100) surface have been decorated with carbon from the decomposition of ethylene; figure 4 shows another area of the surface where the terraces are carbon coated, and the step edges are “clean.” The slip trace features suggest that the dark lines are mono-atomic steps.[5]
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Ashida, Hiroshi, Akiyoshi Kitaoka, and Kenzo Sakurai. "A New Variant of the Ouchi Illusion Reveals Fourier-Component-Based Processing." Perception 34, no. 4 (April 2005): 381–90. http://dx.doi.org/10.1068/p5060.
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We report that anomalous motion illusion in a new variant of the Ouchi figure is well predicted by the strength of its Fourier fundamentals and harmonics. The original Ouchi figure consists of a rectangular checkerboard pattern surrounded by an orthogonal rectangular checkerboard pattern, in which illusory relative motion between the two regions is perceived. Although this illusion has been explained in terms of biases in integrating one-dimensional motion signals to determine the two-dimensional motion direction, the physiological mechanism has not been clarified. With our new stimuli, which consisted of thin lines instead of rectangles, we found that the perceived illusion is drastically reduced when the position of each line element is randomly shifted. This is not predicted by simple models of local motion integration along the visible edges. We demonstrate that the relative amplitude of the relevant Fourier fundamentals and harmonics leads to a quantitative prediction. Our analysis was successfully applied to other variants of the Ouchi figure (Khang and Essock 1997 Perception26 585–597), closely predicting the reported rating. The results indicate that the underlying physiological mechanism is sensitive to the Fourier components of the stimuli rather than the visible edges.
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Kim, Yeon Soo, and Hyun Sook Kim. "Technique of Measuring the Relative Surface Figure of a Nontransparent Window Plate Using Visible Light." Optical Review 13, no. 3 (May 2006): 158–60. http://dx.doi.org/10.1007/s10043-006-0158-7.
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Koehl, Robert B. "The Chieftain Cup and a Minoan rite of passage." Journal of Hellenic Studies 106 (November 1986): 99–110. http://dx.doi.org/10.2307/629645.
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The scene carved in relief on a Middle Minoan III-Late Minoan I serpentine footed conical cup or chalice from Ayia Triada has attracted the attention of numerous scholars since its discovery and initial publication. The cup is 11·5 cm in height with a maximum diameter of 9·9 cm. Two male figures are depicted facing each other (Plate VIIa). The figure on the right (hereafter, figure A), stands before a rendering perhaps of a pillar with even, horizontal, divisions to indicate stone blocks. His hair is arranged in tresses that hang to his waist, one of which is pulled in front of his ear. He wears three necklaces, several arm bands and bracelets, and around his waist, a short belted kilt into which is inserted a dagger. On his feet he wears boots which reach up to his mid-calf and are decorated with horizontal incisions. In his extended right hand he holds a straight staff; his left hand is empty and is thrust back, bent at the elbow. The facing figure (hereafter, figure B), is shorter and more simply attired. His hair appears short and gathered in a top-knot. In his right hand he holds a long sword and in his left, a long-handled object with a curved top, interpreted by some scholars to be a ritual sprinkler. Around his neck he wears a simple collar, a short kilt is wrapped around his waist, and on his feet he wears undecorated boots which reach to his mid-calf. On the back of the cup are three male figures carrying large flattened animal skins, usually identified as ox hides or shields. Only the heads of these males are visible above the ‘hides’. Their hair is worn short in the front and hangs freely behind their ears.
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Raev, Boris. "Eros and Psyche on the Medallions of Silver Bowls from Sadovy Kurgan: New Data." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 75–85. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.5.
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The set of eight silver bowls excavated in Sadovy kurgan at the urban outskirts of Novocherkassk in 1962 includes a pair of bowls with medallions depicting scenes with Eros and Psyche. The detailed analysis of the element of the feathery pattern that covers the entire inner surface of the bowls reveals that it was applied by different craftsmen, though the bowls themselves were no doubt made in the same workshop. The central figures of the scenes on both medallions are tied to the columns decorated with garlands, on which one can see vessels. Both vessels have a spherical shape; each has a low stand and conical cover, and are the type of turibulum. One of the vessels bears a figure detail soldered to the right upper part of the vessel’s body. The second figure, soldered to the left side, is visible less clearly (fig. 2,2). The described figures look like protomes of griffins on a turibulum. A similar vessel was found in Khokhlach kurgan, and belongs to the objects produced in the 2nd – 1st centuries BC. We conclude that the identified similarity on manufacturing medallions on the bowls from Sadovy kurgan and the turibulum from Khokhlach kurgan most likely relates the finds to the workshops of the same region, probably the Eastern Mediterranean.
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Mott, Richard B., John J. Friel, and Charles G. Waldman. "Improving x-ray map resolution with image restoration techniques." Proceedings, annual meeting, Electron Microscopy Society of America 54 (August 11, 1996): 598–99. http://dx.doi.org/10.1017/s0424820100165458.
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X-rays are emitted from a relatively large volume in bulk samples, limiting the smallest features which are visible in X-ray maps. Beam spreading also hampers attempts to make geometric measurements of features based on their boundaries in X-ray maps. This has prompted recent interest in using low voltages, and consequently mapping L or M lines, in order to minimize the blurring of the maps.An alternative strategy draws on the extensive work in image restoration (deblurring) developed in space science and astronomy since the 1960s. A recent example is the restoration of images from the Hubble Space Telescope prior to its new optics. Extensive literature exists on the theory of image restoration. The simplest case and its correspondence with X-ray mapping parameters is shown in Figures 1 and 2.Using pixels much smaller than the X-ray volume, a small object of differing composition from the matrix generates a broad, low response. This shape corresponds to the point spread function (PSF). The observed X-ray map can be modeled as an “ideal” map, with an X-ray volume of zero, convolved with the PSF. Figure 2a shows the 1-dimensional case of a line profile across a thin layer. Figure 2b shows an idealized noise-free profile which is then convolved with the PSF to give the blurred profile of Figure 2c.
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Emery, Jacob. "Keeping Time: Reading and Writing in “Conversation about Dante”." Slavic Review 73, no. 3 (2014): 494–513. http://dx.doi.org/10.5612/slavicreview.73.3.494.
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This article approaches Osip Mandel'shtam's “Conversation about Dante” as a demonstration of and meditation on reading. As such, Mandel ‘stam's essay addresses the perennial problems of our relationship to the authority of writing and the preservation of literary culture across time, largely through a cluster of metaphors around the central image of a conductor's baton. The visible instrument of musical measure, the baton figures synesthetic transcription in the arts and, most urgently, the undulating line of script traced by the writing pen that becomes realized as waves of sound in the poem's oral performance. “Keeping Time” elucidates the philosophy of notation and performance to which the figure of the baton alludes, and contextualizes it within Mandel'shtam's efforts to reconcile the political and poetical functions of written authority.
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Tse, P. "Plasmas: A New Class of Motion-Induced Brightness Illusion." Perception 26, no. 1_suppl (August 1997): 16. http://dx.doi.org/10.1068/v970075.
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When a white figure is set in smooth continuous motion against a dark background, a ‘shadowy’ region forms around and behind it, somewhat similar to the wake that a boat leaves in water. Conversely, when a dark figure moves against a white background, this ‘wake’ appears lighter than the background. When several such figures move, these ‘wakes’ can link up in surprising ways. For example, if four white circles of radius r are positioned on a dark background at the vertices of an imaginary square whose width is, say, 4 r, and this imaginary square rotates about its centre, bands darker than the background form between the four circles, linking them through the centre. This ‘black cross’ is nonrigid, and is accompanied by dark ‘wakes’ on the outside of the circles. I call these illusory brightness regions ‘plasmas’. The relation of this effect to other motion-induced brightness illusions is considered. In particular, this effect has different properties than either induced gratings (McCourt, 1982 Vision Research22 119 – 134) or phantom gratings (Tynan and Sekuler, 1975 Science188 951 – 952). Plasmas are not due to retinal afterimages or persistence, since they form in regions never traversed by the moving figure. Nor are they an artifact of the computer screen, since the illusion occurs equally well in displays constructed from paper. Plasmas have the opposite phase relative to the inducing figure, disappear when a figure stops moving, are strongest at high background/inducer contrast, and are most visible when the luminance of the inducers is in the photopic range. Experiments measuring the strength of plasmas as a function of angular velocity and visual angle are described. A model is proposed according to which plasmas are due to a phase lag in luminance-edge induced lateral inhibition.
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Chen, Shujing, and Chengyou Lin. "Figure of merit analysis of graphene based surface plasmon resonance biosensor for visible and near infrared." Optics Communications 435 (March 2019): 102–7. http://dx.doi.org/10.1016/j.optcom.2018.11.031.
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Purghé, F. "Can Illusory Figures Be Transparent and Opaque at the Same Time?" Perception 26, no. 1_suppl (August 1997): 321. http://dx.doi.org/10.1068/v970193.
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A simple and convincing way of explaining illusory figures is based upon the idea that the visual system would infer the presence of an occluding object when the inducing pattern shows features, such as indentations or interruptions, that can be logically explained as due to an occlusion. This kind of explanation implies (a) that an illusory figure should be prevented from occurring if there is no logical need for it, and (b) that the illusory figure must be opaque to be effective as an occluding object. It can be shown, however, that illusory figures can emerge even when there is contrary evidence to occlusion. A special kind of stereoscopic Kanizsa-like pattern superimposed onto a picture (an Escher engraving) is capable of inducing clear illusory figures (two rectangles). In this pattern, the illusory figures seem to be transparent with respect to the picture on the background, which remains fully visible through them, but act as opaque surfaces with respect to the inducers. The inducers are parts of a Necker cube which can be clearly seen only when its fragments induce the illusory rectangles, but disappears if the same fragments, being only outlined, are not able to induce them. If this outcome can be regarded as a demonstration that the Necker cube can be seen as an amodally completed object only when it virtually completes itself ‘behind’ the illusory rectangles, one would have to conclude that the same illusory surfaces can be transparent and opaque at the same time. This paradoxical result seems to challenge any interpretation of illusory figures as being due to an intelligent solution to a cognitive problem.
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Lubis, Muhammad Zainuddin, Wenang Anurogo, Oktavianto Gustin, Andi ., Aditya Hanafi, Dirgan Timbang, Fajar Rizki, et al. "Interactive modelling of buildings in Google Earth and GIS: A 3D tool for Urban Planning (Tunjuk Island, Indonesia)." Journal of Applied Geospatial Information 1, no. 2 (July 6, 2017): 44–48. http://dx.doi.org/10.30871/jagi.v1i2.363.
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3D modelling of buildings in Google Earth in Batam city, Indonesia is very important for knowledge about facility, infrastructure, and others.Three-dimensional (3D) visualisations are an interesting method for representing model outcomes. This research In Tunjuk island with coordinate, at Latitude: 0.984123°, and Longitude: 104.225606°, with technical terms, there are two alternative routes for implementation, and they both share the same starting stage. In (Figure 5) visible visual measurements of the master plan that has been made has a length 141.99 metre and width 54.25 metre with location at Latitude 0.984593° and Longitude 104.228073°. In (Figure 5) visible visual measurements of the master plan that has been made has a length 92.96 metre and width 135.46 metre with location at Latitude 0.984593° and Longitude 104.228073°. This paper presented a rapid visualisation tool for supporting the joint decision making in evaluation of design/renewal proposals in Batam City, Tunjuk Island, Indonesia. 3D building using Google Earth (GE) and combaining Geographic Information System (GIS) system be done officially on a sampling or auditing basis by a professional body or by researchers, or it could be done by volunteers and user groups.
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Morawe, Christian, Sylvain Labouré, Jean-Christophe Peffen, François Perrin, Amparo Vivo, and Raymond Barrett. "X-ray mirror figure correction by differential deposition and off-line metrology." Journal of Synchrotron Radiation 26, no. 6 (October 10, 2019): 1872–78. http://dx.doi.org/10.1107/s1600577519012256.
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The surface figure error of a hard X-ray mirror was improved by combining differential deposition and off-line metrology tools. Thin Cr layers were deposited on flat substrates by DC magnetron sputtering. The substrates were moved in front of a beam-defining aperture. The required velocity profile was calculated using a deconvolution algorithm. The Cr thickness profiles were measured directly using hard X-ray reflectivity data. The surface figure was characterized using conventional visible-light metrology instrumentation (long trace profiler) before and after the deposition. The method converges quickly, and after two iterations the mirror surface figure had improved by a factor of 7. The surface roughness evolves with increasing Cr thickness and deteriorates the quality of subsequent multilayer coatings. The mirror curvature can change upon coating, which complicates the interpretation of the surface metrology data. In this context, the role of layer stress is discussed. Potential improvements of the process are also proposed.
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Diminescu, Dana. "The connected migrant: an epistemological manifesto." Social Science Information 47, no. 4 (December 2008): 565–79. http://dx.doi.org/10.1177/0539018408096447.
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Current trends in thinking on contemporary migration (in particular, theories on transnational networks) agree that today's migrants are the actors of a culture of bonds, which they themselves have founded and which they maintain even as they move about. Formerly a latent feature but typical of all groups on the move, this culture of bonds became visible and highly dynamic once migrants began massively to use modern information and communication technologies (ICT). It is more and more common for migrants to maintain remote relations typical of relations of proximity and to activate them on a daily basis. The paradigmatic figure of the uprooted migrant is yielding to another figure: the connected migrant.
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Schott, Geoffrey D. "The Rückenfigur: A Note on an Intriguing Rear-View Pictorial Device." Perception 49, no. 5 (May 2020): 600–605. http://dx.doi.org/10.1177/0301006620912361.
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The Rückenfigur, a rear-view depiction of a person, is an artistic device which dates back several centuries but became particularly prominent in 19th century in Germany. The adoption of the rear-view presents an intriguing challenge, since the viewer must engage with a figure which sees without visible eyes. Considered here are some of the perceptual issues which arise from this unusual pictorial device.
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Soehartono, Alana M., Landobasa Y. M. Tobing, Aaron D. Mueller, Dao Hua Zhang, and Ken‐Tye Yong. "Hybrid Transverse–Longitudinal Modes for High Figure‐of‐Merit Localized Plasmonic Refractometric Sensing in the Visible Spectrum." Advanced Optical Materials 8, no. 7 (February 3, 2020): 1901739. http://dx.doi.org/10.1002/adom.201901739.
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Fersini, Maria Pina. "“El jorobado hombrecillo? Distorsiones del cuerpo y del espacio en el universo jurídico kafkiano | “The Little Hunchback? Distortions of Body and Space in Kafka's Legal Universe." Cuadernos Electrónicos de Filosofía del Derecho, no. 36 (December 27, 2017): 109. http://dx.doi.org/10.7203/cefd.36.10726.
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Resumen: En la obra de Kafka no hay figura más frecuente que la de un hombre doblado sobre si mismo, bajo el peso de fuerzas primitivas, al que Benjamín define el arquetipo de la deformidad. Partiendo de esta sugerente imagen benjaminiana y analizando el progresivo encorvamiento de las formas que afecta no sólo los protagonistas de la ficción kafkiana, sino también sus ambientes, este trabajo quiere ofrecer un lectura en clave estético-juridica de El proceso, la cual demuestre como detrás de la geometría curvilínea que estructura la novela se esconda una genealogía del derecho moderno distinta de aquella visible en el discurso jurídico oficial.
Abstract: In Kafka's work there is no figure more frequent than that of a man bent over himself, under the weight of primitive forces, which Benjamin defines the archetype of deformity. Starting from this suggestive Benjamin's image and analyzing the progressive bending of forms that affects not only the protagonists of Kafkaesque fiction but also their environments, this essay wants to offer an aesthetic-juridical reading of The Trial, which proves as the curvilinear geometry that structures the novel conceals a genealogy of modern law distinct from that visible in official legal discourse.
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Sun, Ying, and Guang Lin Gao. "Study on Reconstruction Techniques of Landscape Image." Advanced Materials Research 1006-1007 (August 2014): 797–801. http://dx.doi.org/10.4028/www.scientific.net/amr.1006-1007.797.
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The depth map is a basic diagram of the intrinsic; each pixel value represents the scene graph the elevation position of the object point. In this paper, the analysis methods for target classification elevation map. Figure elevation are visible depth image, the depth of the image is the distance from each point in the scene to the image capture device values of the image as an image pixel value.
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Bullock, Erika C. "Intersectional Analysis in Critical Mathematics Education Research: A Response to Figure Hiding." Review of Research in Education 42, no. 1 (March 2018): 122–45. http://dx.doi.org/10.3102/0091732x18759039.
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In this chapter, I use figure hiding as a metaphor representing the processes of exclusion and suppression that critical mathematics education (CME) seeks to address. Figure hiding renders identities and modes of thought in mathematics education and mathematics education research invisible. CME has a commitment to addressing figure hiding by making visible what has been obscured and bringing to the center what has been marginalized. While the tentacles of CME research address different analytical domains, much of this work can be connected to the social isms that plague our world (e.g., sexism, racism, heterosexism, colonialism, capitalism, ableism, militarism, nationalism, religious sectarianism). However, the trend in CME research is to address these isms in silos, which does not reflect the compounded forms of oppression that many experience. I review CME studies that employ intersectionality as a way of analyzing the complexities of oppression. Intersectionality’s limited use in CME research has been for identity-based analyses. I offer intersectional analysis as a strategy to extend intersectionality’s power beyond identity toward more systemic analyses.
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Heintze, J. R. W. "The Utrecht Photometric System (≡ UPS) and Some Results With it." International Astronomical Union Colloquium 107 (1989): 257–60. http://dx.doi.org/10.1017/s0252921100087832.
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The Utrecht Photometric System (≡ UPS) is a narrow-band photometric system (Δλ ⩽ 10 nm) characterized by wavelength regions in which no telluric lines and nearly no stellar/interstellar spectral lines are present. Because in the near-infra red the density of spectral lines is much less than in the visible and blue, filters with transmission as far as possible into the near-infra red are necessary. Photomultipliers with GaAs cathodes, which have a high sensitivity up to 900 nm have enabled the design of the UPS. In Figure 1 the absoluteFigure 1. Comparison of responsivities of several cathodes.Figure 2. The positions of the UPS filters with respect to solar and telluric lines.responsivity of the GaAs cathode is compared with S1, S4, S13, S20 and S20 extended cathodes. In Figure 2a the transmission curves of the UPS (474, 579, 672, 781 and 871 nm) are given as a function of wavelength (Provoost (1980) gives larger graphs for the transmissions). Figure 2b shows in the lower part over 20 Å summed up equivalent widths of solar lines as a function of wavelength. In the upper part of Figure 2b the same is done for the telluric lines.
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Kraan-Korteweg, Renée C., and Sebastian Juraszek. "Mapping the Hidden Universe: The Galaxy Distribution in the Zone of Avoidance." Publications of the Astronomical Society of Australia 17, no. 1 (2000): 6–12. http://dx.doi.org/10.1071/as00006.
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AbstractDue to the foreground extinction of the Milky Way, galaxies become increasingly faint as they approach the Galactic Equator creating a ‘zone of avoidance’ (ZOA) in the distribution of optically visible galaxies of about 25%. A ‘whole-sky’ map of galaxies is essential, however, for understanding the dynamics in our local Universe, in particular the peculiar velocity of the Local Group with respect to the Cosmic Microwave Background and velocity flow fields such as in the Great Attractor (GA) region. The current status of deep optical galaxy searches behind the Milky Way and their completeness as a function of foreground extinction will be reviewed. It has been shown that these surveys—which in the mean time cover the whole ZOA (Figure 2)—result in a considerable reduction of the ZOA from extinction levels of AB =1m.0 (Figure 1) to AB =3m.0 (Figure 3). In the remaining, optically opaque ZOA, systematic HI surveys are powerful in uncovering galaxies, as is demonstrated for the GA region with data from the full sensitivity Parkes Multibeam HI survey (300°≤l≤332°, ∣b∣≤5°.5, Figure 4).
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Kaka, Anjum S., Susan E. Beekmann, Amy Gravely, Philip M. Polgreen, and James R. Johnson. "1429. Diagnosis and Management of Osteomyelitis Associated with Stage IV Pressure Ulcers: Report of a Query to the Emerging Infections Network of the Infectious Diseases Society of America." Open Forum Infectious Diseases 6, Supplement_2 (October 2019): S521—S522. http://dx.doi.org/10.1093/ofid/ofz360.1293.
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Abstract Background Despite the high prevalence and morbidity of stage IV pressure ulcers, there are few clinical studies to guide diagnosis and treatment of osteomyelitis in such patients. Methods The Emerging Infections Network conducted an electronic survey of adult ID physicians in 2018 to determine their approach to managing patients with stage IV pressure ulcers (exposed bone, tendon, or muscle) and osteomyelitis. Results The overall response rate was 42% (558/1,332). Of the respondents, 94/558 (17%) had not seen such patients in the last year, so opted out. Of the remaining 464 respondents, 276 (60%) usually felt confident in diagnosing osteomyelitis by physical examination, and laboratory or imaging test results; the strongest indicator of osteomyelitis was thought to be palpable or visible bone at the ulcer base (Figure 1). Approaches to diagnosing osteomyelitis in patients with visible and palpable bone varied: 41% would assume osteomyelitis was present, 27% would try local wound care and pressure-offloading before doing tests, 22% would do diagnostic tests immediately, and 10% would follow another strategy. The preferred tests for osteomyelitis were bone biopsy (for culture or histopathology) and MRI (Figure 2). Regarding treatment, respondents differed widely regarding favored route(s) of antimicrobial therapy (all IV, partly IV and partly oral, or all oral), regardless of presumed pathogen (Figure 3). Respondents also differed widely regarding preferred duration of antimicrobial therapy, but generally would treat longer in the absence of full surgical debridement (P < 0.001 overall) (Figure 4). Overall, 62% of respondents believed that osteomyelitis under stage IV pressure ulcers usually or almost always is treated excessively. Most respondents (59%) had multiple suggestions for future research, primarily regarding the duration and utility of antimicrobial therapy in this context. Conclusion ID physicians (i) report significant practice variability in their approach to diagnosing and treating osteomyelitis underlying stage IV pressure ulcers, (ii) are concerned about excessive antibiotic use in such patients, and (iii) perceive a critical need for additional research in this area. Disclosures All authors: No reported disclosures.
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Tanaka, Katsuhisa, Naoki Tatehata, Koji Fujita, Kazuyuki Hirao, and Naohiro Soga. "The Faraday effect and magneto-optical figure of merit in the visible region for lithium borate glasses containing." Journal of Physics D: Applied Physics 31, no. 19 (October 7, 1998): 2622–27. http://dx.doi.org/10.1088/0022-3727/31/19/035.
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Mazurkiewicz, Anna, Dagmara Iwańska, and Czesław Urbanik. "Biomechanics of the Axel Paulsen Figure Skating Jump." Polish Journal of Sport and Tourism 25, no. 2 (June 1, 2018): 3–9. http://dx.doi.org/10.2478/pjst-2018-0007.
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Abstract Introduction. Figure skating is a sport discipline requiring a combination of artistic and athletic skills. The triple Axel Paulsen (Axel or A) jump is the most technically difficult jump of all figure skating jumps, which is why it is on the top of the International Skating Union (ISU) Judging System Code of Points (CoP). The purpose of this research was to explore the technical differences between the single Axel (1A), the double Axel (2A), and the triple Axel (3A) and to determine which parameters are the most important for performing the triple Axel successfully, using 3D kinematic analysis. Material and methods. In the study, one Polish elite male junior skater was tested. Following the usual warm-up, the skater performed a series of jumps on the ice, which were recorded. Six jumps of each type were recorded (6 x 1A, 6 x 2A, and 6 x 3A). Three jumps which were the best technically were chosen for further analysis. The APAS 2000 system automatically calculated the centre of gravity of the skater (CG) and generated the kinematic data of each jump. Results. The skater examined jumped higher when he was about to perform more rotations in the jump. The more rotations were to be made, the higher the jump was. Although the difference between the height of 2A and 3A was less than 10% and could not be considered significant, the height of 1A was significantly lower, by over 19%, that the height of the other two jumps. As also shown by previous research, the most substantial differences in the Axel jump technique were visible in the pre-take-off and take-off phases. Conclusions. We observed substantial differences in the movement technique and kinematic parameters of the pre-take-off phase in the triple Axel performance compared to the performance of the other two Axels. It can be assumed that decreasing the ankle joint angle in the pre-take-off phase was most essential in achieving rotations in the Axel jump. This substantial change in ankle flexion caused greater stress on the blade before the take-off, which resulted in a reduction of vertical velocity and enabled an increase in the vertical take-off angle.
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Berek, Peter. "The Jew as Renaissance Man." Renaissance Quarterly 51, no. 1 (1998): 128–62. http://dx.doi.org/10.2307/2901665.
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AbstractThe Jew available to be known in England in the 1590s is a Marrano - a covert figure whose identity is self-created, hard to discover, foreign, associated with novel or controversial enterprises like foreign trade or money-lending, and anxiety-producing. By and large, non-theatrical representations of Jewishness reveal less ambivalence than does Marlowe's Barabas. In the plays of Marlowe and then of Shakespeare, the Jew becomes a figure which enables the playwright to express and at the same time to condemn the impulse in both culture and theatre to treat selfhood and social role as a matter of choice. By becoming theatrical, the anxiety about identity and innovation implicit in the Marrano state gains explicitness and becomes available to the culture at large. Marlowe and Shakespeare play a central role in creating - not imitating - the frightening yet comic Jewish figure which haunts Western culture. But the immediate impact of their achievement is felt in the theatre, and is barely visible in non-theatrical discourse about Jews in the decades after their plays.
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Pinna, Baingio. "The Role of Amodal Completion in Shape Formation: Some New Shape Phenomena." Perception 41, no. 11 (January 1, 2012): 1336–54. http://dx.doi.org/10.1068/p7331.
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Amodal completion occurs when a portion of an object is hidden as a result of its occlusion behind another object. Under these conditions, the object perceived as occluded is seen as a unitary shape, whose boundary contours amodally complete behind the overlapping modal object. Kanizsa (1972, Studia Psychologica 14 208–210) and his collaborators demonstrated some effects related to the amodal completion: shrinkage of the whole figure partially occluded; expansion of the modally visible portions of the same figure; shape deformations against the Gestalt principles of regularity, simplicity, symmetry, and past experience; global increasing of colour quantity of the partially occluded figure. The aim of this work is to demonstrate that the amodal completion is not a necessary factor in inducing the previous effects. This was accomplished through phenomenological experiments whose stimuli were crucial instances (counterexamples) disproving the amodal completion hypothesis and proving the role played by the directional symmetry of the element components of each stimulus pattern. Some new phenomena demonstrated the main role of the directional shape organisation, considered as a principle of shape formation.
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Montier, Jean-Pierre. "Pour un partage du visible: Mes Algéries en France , de Leila Sebbar." Aletria: Revista de Estudos de Literatura 24, no. 2 (August 30, 2014): 168. http://dx.doi.org/10.17851/2317-2096.24.2.168-176.
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Dans Mes Algéries en France, Leïla Sebbar use de la forme de l’iconotexte pour son hybridité, miroir de sa propre «bigarrure» généalogique. Tel un gant que l’on retournerait, elle se sert de ce genre «bâtard» pour affirmer la nécessité conjointe de suturer les blessures que l’histoire a ouvertes entre les familles des deux rives de la Méditerranée, et de penser le récit d’une vie singulière comme lié, «cousu», à celui de toutes les autres vies. Dès lors l’écriture de l’Histoire et l’autobiographie littéraire convergent-elles dans ce livre singulier pour inventer une nouvelle formule de l’autobiographie, que je nomme ici «alterégotiste», qui est peut-être particulière à la figure de la femme écrivain, mais qui est peut-être également liée à un usage singulier de la photographie, dont le potentiel de conservation du passé ne concerne pas exclusivement la personne ou la famille, puisqu’on voit Leïla Sebbar l’utiliser de manière à circonscrire un véritable «lieu de mémoire» collectif, au sens où l’historien Pierre Nora emploie ce terme.
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Montier, Jean-Pierre. "Pour un partage du visible: Mes Algéries en France, de Leila Sebbar." Aletria: Revista de Estudos de Literatura 24, no. 2 (August 30, 2014): 169–76. http://dx.doi.org/10.17851/2317-2096.24.2.169-176.
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Dans Mes Algéries en France, Leïla Sebbar use de la forme de l’iconotexte pour son hybridité, miroir de sa propre «bigarrure» généalogique. Tel un gant que l’on retournerait, elle se sert de ce genre «bâtard» pour affirmer la nécessité conjointe de suturer les blessures que l’histoire a ouvertes entre les familles des deux rives de la Méditerranée, et de penser le récit d’une vie singulière comme lié, «cousu», à celui de toutes les autres vies. Dès lors l’écriture de l’Histoire et l’autobiographie littéraire convergent-elles dans ce livre singulier pour inventer une nouvelle formule de l’autobiographie, que je nomme ici «alterégotiste», qui est peut-être particulière à la figure de la femme écrivain, mais qui est peut-être également liée à um usage singulier de la photographie, dont le potentiel de conservation du passé ne concerne pas exclusivement la personne ou la famille, puisqu’on voit Leïla Sebbar l’utiliser de manière à circonscrire un véritable «lieu de mémoire» collectif, au sens où l’historien Pierre Nora emploie ce terme.
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Dublon, Amalle. "Girl Talk and Hold Music: On the Sculptural Poetics of Chat." TDR/The Drama Review 62, no. 1 (March 2018): 2–3. http://dx.doi.org/10.1162/dram_a_00714.
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In its persistent indirections, its tendency to both shape and ornament social space, gossip (chatting, girl talk) can be sculptural. Sometimes, coalescing around a particular figure, a Harvey Weinstein or a David France, the power of this chatter becomes partially institutionally “visible,” although often it recedes from display. Works by Carolyn Lazard, Wu Tsang, Jessica Vaughn, and Hannah Black make use of the sculptural power of chat, and its specific evasion of a certain mode of political speech.
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Macek, Pearson M. "IV. The Discoveries of the Westminster Retable." Archaeologia 109 (1991): 101–11. http://dx.doi.org/10.1017/s0261340900014041.
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The Westminster Retable is the most important thirteenth-century panel painting to survive from northern Europe and, quite arguably, from all of western Europe (pl. XXVIa). An oak panel measuring approximately 0.95m high by 3.33m wide, it is divided vertically into five compartments. In the centre is the figure of Christ, standing, blessing and holding in his left hand an orb or globe upon which is painted a delicate miniature landscape (pl. XXVIb). He is flanked by the Virgin Mary and St John the Evangelist who both hold palm fronds. Iconographically this grouping is unique in medieval art. Each figure stands in an architectural niche of high Gothic design. To either side of the central group are four medallions arranged in the Islamic star-and-cross pattern. Each of these eight-pointed star medallions contained a narrative scene, of which three on the left survive: the Raising of the Daughter of Jairus, the Healing of the Blind Man and the Feeding of the Five Thousand (pl. XXVIc). Such miracle scenes from the adult life of Christ were but rarely depicted in the Middle Ages. At either end of the panel are niches for standing figures of saints; only St Peter on the left survives, although ghostly vestiges of his counterpart, presumably St Paul, on the right remain visible.
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Yang, Hongyan, Yupeng Chen, Mengyin Liu, Gongli Xiao, Yunhan Luo, Houquan Liu, Jianqing Li, and Libo Yuan. "High Q-Factor Hybrid Metamaterial Waveguide Multi-Fano Resonance Sensor in the Visible Wavelength Range." Nanomaterials 11, no. 6 (June 16, 2021): 1583. http://dx.doi.org/10.3390/nano11061583.
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We propose a high quality-factor (Q-factor) multi-Fano resonance hybrid metamaterial waveguide (HMW) sensor. By ingeniously designing a metal/dielectric hybrid waveguide structure, we can effectively tailor multi-Fano resonance peaks’ reflectance spectrum appearing in the visible wavelength range. In order to balance the high Q-factor and the best Fano resonance modulation depth, numerical calculation results demonstrated that the ultra-narrow linewidth resolution, the single-side quality factor, and Figure of Merit (FOM) can reach 1.7 nm, 690, and 236, respectively. Compared with the reported high Q-value (483) in the near-infrared band, an increase of 30% is achieved. Our proposed design may extend the application of Fano resonance in HMW from mid-infrared, terahertz band to visible band and have important research value in the fields of multi-wavelength non-labeled biosensing and slow light devices.
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Laws, Megan. ""You’re a Trickster”." Social Analysis 63, no. 1 (March 1, 2019): 1–21. http://dx.doi.org/10.3167/sa.2019.630102.
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The trickster has held a prominent place in the study of folklore, as much as it has been central to anthropological understandings of egalitarianism. In both, the trickster embodies an insoluble tension between the repressed, amoral desires of the individual and the moral demands of social life. This tension, so it goes, is visible in the ambiguity of the figure—a protean indeterminate being, neither good nor bad. Among the Jú|’hoànsi of northeastern Namibia, the trickster is similarly ambiguous. The figure conveys not a clash of values, but rather the doubt and uncertainty people feel toward those with whom they share resources, or about different ways of sharing and how they might relate to one another. This article approaches such uncertainty through a focus on the mocking phrase “you’re a trickster” and the moral discourses that accompany it.