Anticipatory force planning during grasping is based on visual cues about the object’s physical properties and sensorimotor memories of previous actions with grasped objects. Vision can be used to estimate object mass based on the object size to identify and recall sensorimotor memories of previously manipulated objects. It is not known whether subjects can use density cues to identify the object’s center of mass (CM) and create compensatory moments in an anticipatory fashion during initial object lifts to prevent tilt. We asked subjects (n=8) to estimate CM location of visually symmetric objects of uniform densities (plastic or brass, symmetric CM) and non-uniform densities (mixture of plastic and brass, asymmetric CM). We then asked whether subjects can use density cues to scale fingertip forces when lifting the visually symmetric objects of uniform and non-uniform densities. Subjects were able to accurately estimate an object’s center of mass based on visual density cues. When the mass distribution was uniform, subjects could scale their fingertip forces in an anticipatory fashion based on the estimation. However, despite their ability to explicitly estimate CM location when object density was non-uniform, subjects were unable to scale their fingertip forces to create a compensatory moment and prevent tilt on initial lifts. Hefting object parts in the hand before the experiment did not affect this ability. This suggests a dichotomy between the ability to accurately identify the object’s CM location for objects with non-uniform density cues and the ability to utilize this information to correctly scale their fingertip forces. These results are discussed in the context of possible neural mechanisms underlying sensorimotor integration linking visual cues and anticipatory control of grasping.
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The visual representation of Information System (IS) artefacts is an important aspect in the practical application of visual representations. However, important and known visual representation principles are often undervalued, which could lead to decreased effectiveness in using a visual representation. Decision Management (DM) is one field of study in which stakeholders must be able to utilize visual notations to model business decisions and underlying business logic, which are executed by machines, thus are IS artefacts. Although many DM notations currently exist, little research actually evaluates visual representation principles to identify the visual notations most suitable for stakeholders. In this paper, the Physics of Notations framework of Moody is operationalized and utilized to evaluate five different DM visual notations. The results show several points of improvement with regards to these visual notations. Furthermore, the results could show the authors of DM visual notations that well-known visual representation principles need to be adequately taken into account when defining or modifying DM visual notations.
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In order to be successful in today’s competitive environment, brands must have well-established identities. Therefore, during the branding process it is necessary to attribute personality traits and visual elements that best represent the desired identity of the brand. With the recent advances in communication, scholars have analyzed how different visual elements (e.g., logo, typography, color) can visually represent the desired brand personality. However, these elements are typically analyzed separately, since few studies show the association of personality traits with the set of visual elements of the brand (the well-known “visual identity”). Therefore, this work aims to develop a methodological framework that allows the design of visual identity based on the Dimensions of Brand Personality, by assigning a set of visual elements (colors, typographies, and shapes) to each dimension (Sincerity, Excitement, Competence, Sophistication and Ruggedness) suggested by Aaker in 1997. Through a quanti-quali approach, the associations suggested in the proposed framework were duly tested through the application of a questionnaire to a sample of consumers, to gather information about their perceptions. Preliminary results suggest that the proposed framework can successfully generate the desired brand personality perception in consumers, according to the design elements used for the creation of the visual brand identity.
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Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)
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Understanding the actions of others is important for predicting whether their intentions are honest or deceitful. Common-coding theory [Prinz, W. (1997). Perception and action planning. European Journal of Cognitive Psychology, 9(2), 129-154. https://doi.org/10.1080/713752551] suggests that the capability to produce a deceptive action could influence the ability to perceive the same action (and vice versa), but can an actor easily fool themselves? The aim of this study was to investigate whether individuals are better able to anticipate the outcome of their own deceptive actions than when others anticipate those same actions. Eighteen skilled rugby players were filmed performing deceptive (side-step) and non-deceptive actions. Eight equally skilled rugby players anticipated the outcomes of the filmed actions (i.e., viewing deceptive actions generated by others) and, six-months after filming, the original group of eighteen rugby players anticipated the action outcome of their own deceptive actions (i.e., viewing self-generated deceptive actions). Results revealed that players were no better at anticipating the outcomes of their own actions than others were. Instead, the response behaviour of the individuals viewing their own actions was indistinguishable from that of others viewing the same actions. In contrast with what might be expected based on common-coding theory, these findings suggest that the typical advantage of self-observation might be negated when the observer has acquired considerable amounts of visual experience in that observation task.
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Older adults experience visual problems owing to biological ageing or eye disease. In the Netherlands, the prevalence of visual impairments is the highest in the subgroup of nursing home residents (41.3%). These impairments influence quality of life in terms of limiting daily activities and participation in social activities. Furthermore, 63% of visual problems are defined as ‘avoidable blindness’. For this reason, screening of visual functioning in the nursing home is of major importance. Moreover, visual functioning should also be taken into account to prevent the incidence of falls.
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Different inputs from a multisensory object or event are often integrated into a coherent and unitary percept, despite differences in sensory formats, neural pathways, and processing times of the involved modalities. Presumably, multisensory integration occurs if the cross-modal inputs are presented within a certain window of temporal integration where inputs are perceived as being simultaneous. Here, we examine the role of ongoing neuronal alpha (i.e. 10-Hz) oscillations in multimodal synchrony perception. While EEG was measured, participants performed a simultaneity judgement task with visual stimuli preceding auditory ones. At stimulus onset asynchronies (SOA's) of 160–200 ms, simultaneity judgements were around 50%. For trials with these SOA's, occipital alpha power was smaller preceding correct judgements, and the individual alpha frequency was correlated with the size of the temporal window of integration. In addition, simultaneity judgements were modulated as a function of oscillatory phase at 12.5 Hz, but the latter effect was only marginally significant. These results support the notion that oscillatory neuronal activity in the alpha frequency range, which has been taken to shape perceptual cycles, is instrumental in multisensory perception.
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Purpose - The purpose of this paper is to develop a research model to investigate corporate visual identity (CVI) management from an organisational perspective. It is assumed that characteristics of the organisation and of the way a CVI is managed will affect consistency of CVI. Design/methodology/approach - The model was tested in a survey carried out among employees in 20 Dutch organisations. Structural equation modelling with AMOS was conducted to get insight into the various influences and relationships. Findings - CVI management characteristics - socialisation processes related to CVI, knowledge of CVI strategy, and CVI tools and support - have a strong impact on the consistency of CVI, and organisational characteristics affect the way CVI is managed. With the exception of the openness and dynamics of an organisation, no supporting evidence was found for a direct relationship between organisational characteristics and CVI consistency. Research limitations/implications - CVI has been measured by the judgement of the respondents, all employees of the organisation concerned. Therefore the measure was the perceived consistency of CVI. Further research could include a visual audit and the perception of external stakeholders towards the visual identity. There was no distinction examined among the main corporate visual identity and sub- or product brands. The study was conducted in the Netherlands, where the Dutch term huisstijl is unambiguous and clearly related to the corporate brand or identity. Future research can take different brands into account or can broaden the concept of CVI (including cultural aspects, language, rituals, myths, etc.). Practical implications - The results indicate that CVI management matters, that CVI management is related to more general organisational characteristics, but that communication managers nevertheless have a considerable amount of freedom in determining the way they manage their CVI. Originality/value - Corporate visual identity has received little attention in research and hardly been studied at all from the perspective of this paper. This paper has value to both researchers in the fields of corporate identity and organisational identity, as well as professionals involved in managing the corporate identity. © Emerald Group Publishing Limited.
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