Background: Deceptive movements occur when an actor seeks to fake, hide or delay kinematic information about their true movement outcomes. The purpose of deceptive movements is to impair the perception of opponents (the ‘observer’) to gain an advantage over them. We argue though that a lack of conceptual clarity has led to confusion about what deception is and in understanding the different approaches by which an actor can deceive their opponent. The aim of this article is to outline a conceptual framework for understanding deceptive movements in sport. Main body: Adopting Interpersonal Deception Theory from the field of communication, we define deception as when an actor deliberately alters their actions in an attempt to impair the ability of an observer to anticipate their true action outcomes. Further, deception can be achieved either by what we define as deceit, the act of providing false information, or disguise, the act of concealing the action outcome. Skilled athletes often have actions that are difficult to anticipate, but an action is only classified as containing deception if the actor has explicit intent to deceive an observer. Having outlined the conceptual framework, we then review existing empirical findings on the skilled perception of deceptive movements considering the framework. This approach includes a critical evaluation of the mechanisms known to facilitate the perceptual ability to prevent being deceived, including a consideration of visual search strategies, confidence, the contribution of visual and motor experiences, and the influence of response biases and action capabilities on perceptual performance. Conclusion: The distinction between deceit and disguise particularly helps to show that most research has examined deceit, with little known about how an actor can more effectively disguise their action, or about how an observer can improve their ability to anticipate the outcome of disguised actions. The insights help to identify fruitful areas for future research and outline implications for skill acquisition and performance enhancement.
US new media artist Ben Grosser and I met at the 2013 Unlike Us #3 Institute of Network Cultures event in Amsterdam where he presented his Demetricator, a free web browser extension that hides all the metrics on Facebook. I have followed his work ever since. We got in contact again in 2019 when he premiered his video art clip Order of Magnitude.[1] The cut-up piece features Mark Zuckerberg’s obsession with growth. Instead of taking the traditional critical approach, Ben Grosser magnifies particular words that return in each and every one of his sentences: more, millions, billions, trillions. Covering the earliest days of Facebook in 2004 up through Zuckerberg’s compelled appearances before the US Congress in 2018, Grosser viewed every one of these recordings and used them to build a supercut drawn from three of Mark’s most favoured words: more, grow, and his every utterance of a metric such as two million or one billion. Inside the exploding galaxy of Facebook there are no limits of growth. After a few minutes the viewer gets exhausted and is ready to swipe the video away, stand up and walk out: the exact opposite response to what we experience when we’re on Facebook, Instagram, or WhatsApp. The emptiness of the guy suffocates. Well done, Ben.
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Over de stad – nu, vroeger en morgen – wordt veel gezegd en geschreven. Initiatieven, rapporten en projecten buitelen over elkaar heen. We moeten smart, duurzaam, creatief, weerbaar, flexibel en vitaal. Om dit spervuur van feiten en meningen te kunnen verwerken en plaatsen, moeten we soms even afstand nemen.Ontwikkelingen vanuit een bredere blik bekijken, of een andere hoek. Niet bang zijn om vragen te stellen, in plaats van antwoorden te geven. De filosofie leent zich hier bij uitstek voor. Vanuit Agenda Stad zijn daarom vijf vooraanstaande auteurs gevraagd om een filosofisch essay over de ontwikkeling van onze steden. Wat vonden Socrates, Descartes en Nietsche van de stad? Welk effect heeft de filter bubble op ons stedelijkgedrag? Wat is Serenopolis en hoe komen we daar? Waarom is kunst onontbeerlijk om onze steden identiteit te geven?
