Embodiment and the Animal in Guadalupe Nettel’s El matrimonio de los peces rojos

This article explores an interaction between posthumanist and cognitive discourses through the work of award winning Mexican author, Guadalupe Nettel. I focus on her 2014 anthology, Natural Histories, rereading the central motif of the narrative, that animals ‘are like a mirror that reflects submerged emotions or behaviours that we don’t dare to see’ (Nettel, 9). This ‘reflection’ is not simply the image of the human reflected off the opaque surface of the animal, but rather the humans themselves act as a mirror, simulating the behaviour of the animals with which they cohabit. This can be read as a literary representation of a neurophysiological phenomenon — embodied simulation, an internal mimicry, either perceptible or imperceptible, performed when watching others completing certain tasks, movements or expressions (Gazzola et al. 2007; Uithol et al. 2011; Iacoboni 2009). In particular, the first story, ‘El matrimonio de los peces rojos’, depicts a profound human-nonhuman embodied resonance that moves between linguistic, narratological and characterological levels. A cognitive critical approach to the mirroring between animals and humans in the stories reveals the particular intersection between new paradigms in cognitive science, animal studies, and posthumanism that the anthology develops, each of its narratives intertwining mind, body and nonhuman other in a non-hierarchical network.

BioZero—Designing Nature-Inspired Net-Zero Building

This article introduces BioZero, a nature-inspired near-zero building proposed for Quay St, Brooklyn, New York. The building is designed for the maximum use of daylight and natural ventilation. This is the result of its shallow plan depth and the inner light wells/ventilation stacks, which also serve the inner circulation space. The light wells/ventilation stacks are created as a result of the organic shape of the internal partitions. The building is constructed from a steel frame and hemp-lime bio-composite material (hempcrete), which smooths out the fluctuations of internal air temperature and relative humidity. The south facing façade is fitted with the Cadmium Telluride (CdTe) photovoltaic array that covers 90% of the opaque surface area of the façade. The design was based on nature-inspired computation, with sustainability principles as guiding constraints. The main findings are that the building achieves −227 tonnes of negative embodied carbon due to sequestration of CO2 in the hemp plant from which the material was harvested, and a net-zero operation. The main conclusions are that in the context of climate emergency, nature inspired design leads to energy efficient buildings with a high level of thermal comfort, which are buildable and sustainable.

Perception and misperception of surface opacity

A fundamental problem in extracting scene structure is distinguishing different physical sources of image structure. Light reflected by an opaque surface covaries with local surface orientation, whereas light transported through the body of a translucent material does not. This suggests the possibility that the visual system may use the covariation of local surface orientation and intensity as a cue to the opacity of surfaces. We tested this hypothesis by manipulating the contrast of luminance gradients and the surface geometries to which they belonged and assessed how these manipulations affected the perception of surface opacity/translucency. We show that (i) identical luminance gradients can appear either translucent or opaque depending on the relationship between luminance and perceived 3D surface orientation, (ii) illusory percepts of translucency can be induced by embedding opaque surfaces in diffuse light fields that eliminate the covariation between surface orientation and intensity, and (iii) illusory percepts of opacity can be generated when transparent materials are embedded in a light field that generates images where surface orientation and intensity covary. Our results provide insight into how the visual system distinguishes opaque surfaces and light-permeable materials and why discrepancies arise between the perception and physics of opacity and translucency. These results suggest that the most significant information used to compute the perceived opacity and translucency of surfaces arise at a level of representation where 3D shape is made explicit.

Effect of fluoride on tooth erosion around orthodontic brackets

The aim of the present study was to evaluate the effect of fluoride in prevention of tooth erosion around orthodontic brackets under erosive challenge. Edgewise brackets were bonded with TransbondTM XT composite on vestibular surface of 40 bovine incisors. The teeth were assigned to 4 groups (n=10): G1: Remineralizing saliva; G2: Erosive challenge; G3: Experimental group submitted to topical application of neutral fluoride gel (2% NaF) before erosive challenge; G4: Experimental group submitted to three daily applications of fluoride dentifrice (PFM 1500 ppmF) during erosive challenge. After 14 days of erosive challenge, direct visual and tactile examination were performed by two calibrated and trained examiners (Kappa = 0.867). The following scores were used: 0 = Intact enamel, 1 = Demineralized enamel without cavity, 2 = Demineralized enamel with cavity, 3 = Remineralized enamel without cavity, 4 = Remineralized enamel with cavity. Kruskal-Wallis and Mann-Whitney tests were applied to determine erosion levels, establishing a confidence interval of 95% (p<0.05). G2 and G3 presented 100% of score 2, with large cavities, presenting rough and opaque surface. G4 showed 50% of score 3 and 50% of score 4. Considering the studied conditions, it was found a significant difference between G2 and G4 and between G3 and G4 (p<0.01). By contrast to single application of neutral fluoride gel, the high frequency of use of fluoride at low concentration had a great influence during the dynamics of erosion.

Lines That Induce Phenomenal Transparency

Three neighbouring opaque surfaces may appear split into two layers, one transparent and one opaque beneath, if an outline contour is drawn that encompasses two of them. The phenomenon was originally observed by Kanizsa [1955 Rivista di Psicologia69 3–19; 1979 Organization in Vision: Essays on Gestalt Psychology (New York: Praeger)], for the case where an outline contour is drawn to encompass one of the two parts of a bicoloured figure and a portion of a background of lightest (or darkest) luminance. Preliminary observations revealed that the outline contour yields different effects: in addition to the stratification into layers described by Kanizsa, a second split, opposite in depth order, may occur when the outline contour is close in luminance to one of the three surfaces. An initial experiment was designed to investigate what conditions give rise to the two phenomenal transparencies: this led to the conclusion that an outline contour superimposed on an opaque surface causes this surface to emerge as a transparent layer when the luminances of the contour and the surface differ, in absolute value, by no more than 13.2 cd m−2. We have named this phenomenon ‘transparency of the intercepted surface’, to distinguish it from the phenomenal transparency arising when the contour and surface are very different in luminance. When such a difference exists, the contour acts as a factor of surface definition and grouping: the portion of the homogeneous surface it bounds emerges as a fourth surface and groups with a nearby surface if there is one close in luminance. The transparency phenomena (‘transparency of the contoured surface’) perceived in this context conform to the constraints of Metelli's model, as demonstrated by a second experiment, designed to gather ‘opacity’ ratings of stimuli. The observer judgments conformed to the values predicted by Metelli's formula for perceived degree of transparency, a. The role of the outline contour in conveying figural and intensity information is discussed.