![]() ![]() ![]() Our findings suggest that serial dependence is introduced in the perception of emotion to match the natural autocorrelations that are observed in the real world, an operation that could improve the efficiency, sensitivity, and stability of emotion perception. Moreover, the temporal and feature tuning of the perceptual smoothing was consistent with known properties of serial dependence. The results showed that observers’ perception of emotion was smoothed over ∼12 seconds or more, and this time-course closely followed the temporal fluctuations in visual information about emotion found in natural scenes. Download scientific diagram UC Berkeley Calendar Network System Architecture diagram from publication: Model-driven Application Design for a Campus. Here, we quantified the natural emotion statistics in videos by measuring the autocorrelations in emotional content present in films and movies. The visual system could promote this goal through serial dependence, which biases our perception of facial expressions toward those seen in the recent past and thus smooths our perception of the world. ![]() This would balance the need to detect changes in emotion with the need to maintain the stability of visual scene representations. Ideally, the visual system should track these temporal fluctuations-these “natural emotion statistics” of the world-over time. However, visual information about emotion fluctuates over time. doi: 10.1167/jov.23.3.12.Ī critical function of the human visual system is to track emotion accurately and continuously. Her new book-in-progress, The Documentary Audit, explores how listening has come to be equated, in documentary discourse, with accountability.J Vis. Rangan is the author of the award-winning book Immediations: The Humanitarian Impulse in Documentary (Duke UP 2017), and co-editor of the anthology Thinking with an Accent: Toward a New Object, Method, and Practice (UC Press 2023, now available in print and as a free open access ebook). Pooja Rangan is a scholar of documentary media based in Amherst College, where she is Associate Professor of English and Chair of Film and Media Studies. Abu Hamdan’s investigations of the linguistic profiling of asylum seekers by UK immigration authorities are both diagnostic and propositional: they show how documentary forms and comportments are complicit in listening for an accent, and simultaneously cultivate a perceptual and interpretive mode that does not listen for so much as with an awareness of the place from which one has been taught to listen. I trace the postcolonial resonances of the documentary audit in the evidentiary logic of forensic speech analysis through an engagement with works by artist Lawrence Abu Hamdan. Pioneers of the neutral commentator voice, these films exported a supralocal accent as a national-imperial norm and gave audiovisual form to raciolinguistic ideals. Early sound documentaries by the British GPO Film Unit were instrumental in shaping the “objective” listening vantage that has become the habitualized locus of documentary listening, or what I call the documentary audit. To that end, I offer a history, a method drawn from my co-edited anthology Thinking with an Accent (UC Press 2023), and an illustration of that method in practice. This talk explores the role of documentary forms in cultivating “neutral” listening habits that justify linguistic profiling and discrimination, and their capacity to engage audiences in listening with an accent, or listening with a relational awareness of one’s embodied social vantage. ![]() Listening with an Accent: The Documentary Audit as Raciolinguistic Pedagogy New Curriculum General Course Descriptions. ![]()
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