Figures and Mirrors in Demetrios Triklinios's 'Selenography'

This article is about the interplay between diagrammatic representation, the mediation of mirrors, and visual cognition. It centres on Demetrios Triklinios (fl. ca. 1308–25/30) and his treatise on lunar theory. The latter includes, first, a discussion of the lunar phases and of the Moon's position in relation to the Sun, and second, a narrative and a pictorial description of the lunar surface. Demetrios Triklinios's Selenography is little-known (though edited in 1967 by Wasserstein) and not available in translation into a modern scholarly language. Therefore, one of the main goals of the present article is to introduce its context and contents and to lay down the foundations for their detailed study at a later stage. When discussing the Selenography, I refer to a bricolage consisting of the two earliest versions of the work preserved in Bayerische Staatsbibliothek, graecus 482, ff. 92r–95v (third quarter of the fourteenth century) and Paris, Bibliothèque nationale de France, graecus 2381, ff. 78r–79v (last quarter of the fourteenth century). I survey the available evidence concerning the role of Demetrios Triklinios (the author), John Astrapas (?) (the grapheus or scribe-painter), and Neophytos Prodromenos and Anonymus (the scribes-editors) in the production of the two manuscript copies. Next, I discuss the diagrams included in the Selenography and their functioning in relation to Triklinios's theory concerning the Moon as a mirror reflecting the geography of the Earth, on the one hand, and to the mirror experiment described by Triklinios, on the other. Finally, I demonstrate how, even though the Selenography is a work on lunar astronomy, it can also be read as a discussion focusing on the Mediterranean world and aiming at elevating its centrality and importance on a cosmic scale.

A naturalistic environment to study visual cognition in unrestrained monkeys

Macaque monkeys are widely used to study vision. In the traditional approach, monkeys are brought into a lab to perform visual tasks while they are restrained to obtain stable eye tracking and neural recordings. Here, we describe a novel environment to study visual cognition in a more natural setting as well as other natural and social behaviors. We designed a naturalistic environment with an integrated touchscreen workstation that enables high-quality eye tracking in unrestrained monkeys. We used this environment to train monkeys on a challenging same-different task. We also show that this environment can reveal interesting novel social behaviors. As proof of concept, we show that two naïve monkeys were able to learn this complex task through a combination of socially observing trained monkeys and through solo trial-and-error. We propose that such naturalistic environments can be used to rigorously study visual cognition as well as other natural and social behaviors in freely moving monkeys.

Quantitative evaluation of visual guidance effects for 360-degree directions

A head-mounted display cannot cover an angle of visual field as wide as that of natural view (out-of-view problem). To enhance the visual cognition of an immersive environment, previous studies have developed various guidance designs that visualize the location or direction of items presented in the users’ surroundings. However, two issues regarding the guidance effects remain unresolved: How are the guidance effects different with each guided direction? How much is the cognitive load required by the guidance? To investigate the two issues, we performed a visual search task in an immersive environment and measured the search time of a target and time spent to recognize a guidance design. In this task, participants searched for a target presented on a head-mounted display and reported the target color while using a guidance design. The guidance designs (a moving window, 3D arrow, radiation, spherical gradation, and 3D radar) and target directions were manipulated. The search times showed an interaction effect between guidance designs and guided directions, e.g., the 3D arrow and radar shorten the search time for targets presented at the back of users. The recognition times showed that the participants required short times to recognize the details of the moving window and radiation but long times for the 3D arrow, spherical gradation, and 3D radar. These results suggest that the moving window and radiation are effective with respect to cognitive load, but the 3D arrow and radar are effective for guiding users’ attention to necessary items presented at the out-of-view.

What Makes an Image Interesting and How Can We Explain It

Here, we explore the question: What makes a photograph interesting? Answering this question deepens our understanding of human visual cognition and knowledge gained can be leveraged to reliably and widely disseminate information. Observers viewed images belonging to different categories, which covered a wide, representative spectrum of real-world scenes, in a self-paced manner and, at trial’s end, rated each image’s interestingness. Our studies revealed the following: landscapes were the most interesting of all categories tested, followed by scenes with people and cityscapes, followed still by aerial scenes, with indoor scenes of homes and offices being least interesting. Judgments of relative interestingness of pairs of images, setting a fixed viewing duration, or changing viewing history – all of the above manipulations failed to alter the hierarchy of image category interestingness, indicating that interestingness is an intrinsic property of an image unaffected by external manipulation or agent. Contrary to popular belief, low-level accounts based on computational image complexity, color, or viewing time failed to explain image interestingness: more interesting images were not viewed for longer and were not more complex or colorful. On the other hand, a single higher-order variable, namely image uprightness, significantly improved models of average interest. Observers’ eye movements partially predicted overall average interest: a regression model with number of fixations, mean fixation duration, and a custom measure of novel fixations explained >40% of variance. Our research revealed a clear category-based hierarchy of image interestingness, which appears to be a different dimension altogether from memorability or awe and is as yet unexplained by the dual appraisal hypothesis.