Distributed Perception

Who, what, and where perceives, and how? What are the sedimentations, inscriptions, and axiologies of animal, human, and machinic perception/s? What are their perceptibilities? Deleuze uses the word ‘visibilities’ to indicate that visual perception isn’t just a physiological given but cues operations productive of new assemblages. Perceptibilities are, by analogy, spatio-temporal, geolocative, kinaesthetic, audio-visual, and haptic operations that are always already memory. In the case of strong inscriptions, they are also epigenetic events. In physics, resonance is the tendency of a system to vibrate with increasing amplitudes at certain frequencies of excitation. In cybernetics and in theories of technology, it refers to systems’ feedback. In Native science, resonance denotes the axiology of positions and events. It’s a form of multi-species perception that emphasises emergent directionality and protean mnemonics. This transdisciplinary volume brings together key theorists and practitioners from media theory, Native science, bio-media and sound art, philosophy, art his- tory, and design informatics to examine: a) the becoming-technique of animal– human–machinic perceptibilities; and b) micro-perceptions that lie beneath the threshold of known perceptions yet create energetic vibrations. The volume shows distributed perception to be a key notion in addressing the emergence and peristence of plant, animal, human, and machine relations.

The perception-action cycle is the circular flow of information that takes place between the organism and its environment in the course of a sensory-guided sequence of behaviour towards a goal. Each action causes changes in the environment that are analyzed bottom-up through the perceptual hierarchy and lead to the processing of further action, top-down through the executive hierarchy, toward motor effectors. These actions cause new changes that are analyzed and lead to new action, and so the cycle continues. The Perception-action cycle: Models, architectures and hardware book provides focused and easily accessible reviews of various aspects of the perception-action cycle. It is an unparalleled resource of information that will be an invaluable companion to anyone in constructing and developing models, algorithms and hardware implementations of autonomous machines empowered with cognitive capabilities. The book is divided into three main parts. In the first part, leading computational neuroscientists present brain-inspired models of perception, attention, cognitive control, decision making, conflict resolution and monitoring, knowledge representation and reasoning, learning and memory, planning and action, and consciousness grounded on experimental data. In the second part, architectures, algorithms, and systems with cognitive capabilities and minimal guidance from the brain, are discussed. These architectures, algorithms, and systems are inspired from the areas of cognitive science, computer vision, robotics, information theory, machine learning, computer agents and artificial intelligence. In the third part, the analysis, design and implementation of hardware systems with robust cognitive abilities from the areas of mechatronics, sensing technology, sensor fusion, smart sensor networks, control rules, controllability, stability, model/knowledge representation, and reasoning are discussed.

This volume presents the most up-to-date collection of neural network models of music and creativity gathered together in one place. Chapters by leaders in the field cover new connectionist models of pitch perception, tonality, musical streaming, sequential and hierarchical melodic structure, composition, harmonization, rhythmic analysis, sound generation, and creative evolution. The collection combines journal papers on connectionist modeling, cognitive science, and music perception with new papers solicited for this volume. It also contains an extensive bibliography of related work. Contributors Shumeet Baluja, M.I. Bellgard, Michael A. Casey, Garrison W. Cottrell, Peter Desain, Robert O. Gjerdingen, Mike Greenhough, Niall Griffith, Stephen Grossberg, Henkjan Honing, Todd Jochem, Bruce F. Katz, John F. Kolen, Edward W. Large, Michael C. Mozer, Michael P.A. Page, Caroline Palmer, Jordan B. Pollack, Dean Pomerleau, Stephen W. Smoliar, Ian Taylor, Peter M. Todd, C.P. Tsang, Gregory M. Werner

Auditory Perception of Sound Sources covers higher-level auditory processes that are perceptual processes. The chapters describe how humans and other animals perceive the sounds that they receive from the many sound sources existing in the world. This book will provide an overview of areas of current research involved with understanding how sound-source determination processes operate. This book will focus on psychophysics and perception as well as being relevant to basic auditory research. Contents: Perceiving Sound Sources: An Overview William A. Yost Human Sound Source Identification Robert A. Lutfi Size Information in the Production and Perception of Communication Sounds Roy D. Patterson, David R. R. Smith, Ralph van Dinther, and Tom Walters The role of memory in auditory perception Laurent Demany, and Catherine Semal Auditory Attention and Filters Ervin R. Hafter, Anastasios Sarampalis, and Psyche Loui Informational masking Gerald Kidd Jr., Christine R. Mason, Virginia M. Richards, Frederick J. Gallun, and Nathaniel I. Durlach Effects of harmonicity and regularity on the perception of sound sources Robert P. Carlyon, and Hedwig E. Gockel Spatial Hearing and Perceiving Sources Christopher J. Darwin Envelope Processing and Sound-Source Perception Stanley Sheft Speech as a Sound Source Andrew J. Lotto, and Sarah C. Sullivan Sound Source Perception and Stream Segregation in Non-human Vertebrate Animals Richard R. Fay About the editors: William A. Yost, Ph.D., is Professor of Psychology, Adjunct Professor of Hearing Sciences of the Parmly Hearing Institute, and Adjunct Professor of Otolaryngology at Loyola University of Chicago. Arthur N. Popper is Professor in the Department of Biology and Co-Director of the Center for Comparative and Evolutionary Biology of Hearing at the University of Maryland, College Park. Richard R. Fay is Director of the Parmly Hearing Institute and Professor of Psychology at Loyola University of Chicago. About the series: The Springer Handbook of Auditory Research presents a series of synthetic reviews of fundamental topics dealing with auditory systems. Each volume is independent and authoritative; taken as a set, this series is the definitive resource in the field.

This book presents the breakthrough and cutting-edge progress for collaborative perception and mapping by proposing a novel framework of multimodal perception-relative localization–collaborative mapping for collaborative robot systems. The organization of the book allows the readers to analyze, model and design collaborative perception technology for autonomous robots. It presents the basic foundation in the field of collaborative robot systems and the fundamental theory and technical guidelines for collaborative perception and mapping. The book significantly promotes the development of autonomous systems from individual intelligence to collaborative intelligence by providing extensive simulations and real experiments results in the different chapters. This book caters to engineers, graduate students and researchers in the fields of autonomous systems, robotics, computer vision and collaborative perception.

A provocative investigation of the future of photography and human perception in the age of AI. We are constantly photographing and being photographed while feeding machine learning databases with our data, which in turn is used to generate new images. Analyzing the transformation of photography by computation—and the transformation of human perception by algorithmically driven images, from CGI to AI—The Perception Machine investigates what it means for us to live surrounded by image flows and machine eyes. In an astute and engaging argument, Joanna Zylinska brings together media theory and neuroscience in a Vilém Flusser–Paul Virilio remix. Her “perception machine” names a technical universe of images and their infrastructures. But it also refers to a sociopolitical condition resulting from today’s automation of vision, imaging—and imagination. Written by a theorist-practitioner, the book incorporates Zylinska’s own art projects, some of which have been co-created with AI. The photographs, collages, films, and installations available as part of the book (and its companion website) provide a different mode of thinking about our technological futures, at a local as well as a planetary level. Offering provocative concepts such as eco-eco-punk, AUTO-FOTO-KINO, planetary micro-vision, loser images, and sensography, the book outlines an existential philosophy of messy media for a time when our practices of imaging and self-imaging are being radically redesigned. Importantly, it also offers a new vision of our future.

This book constitutes the proceedings of the 9th International Conference on Internet and Distributed Computing Systems, IDCS 2016, held in Wuhan, China, in September 2016. The 30 full papers and 18 short papers presented in this volume were carefully reviewed and selected from 78 submissions. They were organized in topical sections named: body sensor networks and wearable devices; cloud computing and networking; distributed computing and big data; distributed scheduling and optimization; internet of things and its application; smart networked transportation and logistics; and big data and social networks.

The International Symposium on Distributed Computing and Artificial Intel- gence (DCAI ́10) is an annual forum that brings together past experience, current work and promising future trends associated with distributed computing, artificial intelligence and their application to provide efficient solutions to real problems. This symposium is organized by the Biomedicine, Intelligent System and Edu- tional Technology Research Group (http://bisite. usal. es/) of the University of - lamanca. The present edition has been held at the Polytechnic University of - lencia, from 7 to 10 September 2010, within the Congreso Español de Informática (CEDI 2010). Technology transfer in this field is still a challenge, with a large gap between academic research and industrial products. This edition of DCAI aims at contributing to reduce this gap, with a stimulating and productive forum where these communities can work towards future cooperation with social and econo- cal benefits. This conference is the forum in which to present application of in- vative techniques to complex problems. Artificial intelligence is changing our - ciety. Its application in distributed environments, such as internet, electronic commerce, environment monitoring, mobile communications, wireless devices, distributed computing, to cite some, is continuously increasing, becoming an e- ment of high added value with social and economic potential, both industry, life quality and research. These technologies are changing constantly as a result of the large research and technical effort being undertaken in universities, companies.

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience.

The volume presents language as fully integrated with human existence. On this view, language is not essentially ‘symbolic’, not represented inside minds or brains, and most certainly not determined by micro-social rules and norms. Rather, language is part of our ecology. It emerges when bodies co-ordinate vocal and visible gesture to integrate events with different histories. Enacting feeling, expression and wordings, language permeates the collective, individual and affective life of living beings. It is a profoundly distributed, multi-centric activity that binds people together as they go about their lives. Distributed Language pursues this perspective both theoretically and in relation to empirical work. Empirically, it reports studies on the anticipatory dynamics of reading, its socio-cognitive consequences, Shakespearean theatre, what images evoke (in brain and word), and solving insight problems. Theoretically, the volume challenges linguistic autonomy from overlapping theoretical positions. First, it is argued that language exploits a species specific form of semiotic cognition. Second, it is suggested that the central function of language lies in realizing values that derive from our ecosystemic existence. Third, this is ascribed to how cultural and biological symbols co-regulate the dynamics that shape human activity. Fourth, it is argued that language, far from being organism-centred, gives us an extended ecology in which our co-ordination is saturated by values and norms that are derived from our sociocultural environment. The contributions to this volume expand on those originally published in Pragmatics & Cognition 17:3 (2009).