Mental spatial transformations of objects and perspective

This study sought evidence for the independenceof two classes of mental spatialtransformation: object-based spatialtransformations and egocentric perspectivetransformations. Two tasks were designed toselectively elicit these two transformationsusing the same materials, participants, andtask parameters: one required same-differentjudgments about pairs of pictures, while theother required left-right judgments aboutsingle pictures. For pictures of human bodies,the two tasks showed strikingly differentpatterns of response time as a function ofstimulus orientation. Moreover, acrossindividuals, the two tasks had differentrelationships to psychometric tests of spatialability. The chronometric and individualdifference data converge withneuropsychological and neuroimaging data insuggesting that different mental spatialtransformations are performed by dissociableneural systems.     

Why do speakers mix perspectives?

Although considerations of discourse coherence and cognitive processing suggest that communicators should adopt consistent perspectives when describing spatial scenes, in many cases they switch perspectives. Ongoing research examining cognitive costs indicates that these are small and exacted in establishing a mental model of a scene but not in retrieving information from a well-known scene. A perspective entails a point of view, a referent object, and terms of reference. These may change within a perspective, exacting cognitive costs, so that the costs of switching perspective may not be greater than the costs of maintaining the same perspective. Another project investigating perspective choice for self and other demonstrates effects of salience of referent object and ease of terms of reference. Perspective is mixed not just in verbal communications but also in pictorial ones, suggesting that at times, switching perspective is more effective than maintaining a consistent one.     

Shadow play

ABSTRACT

Despite its visibility but in spite of its lack of materiality (or perhaps because of it), shadow has been a rich source of metaphor, both verbal and visual. Figurative extensions to the visual realms have been less explored; here, we present and analyze some figurative uses of shadow in a sample of visual jokes, cartoons, photographs, and paintings for insights into the nuanced senses of the concept. The visual domains allow for rich expressions of meaning not easily expressed in words.