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 {"created":"20241008012320304","title":"mentec_exploring_2024","bibtex-entry-type":"misc","bibtex-title":"Exploring the {Role} of {Valence} in {Conscious} {Perception}: {Insights} from {Similarity} {Judgments} and {Deep} {Learning} {Models}","bibtex-shorttitle":"Exploring the {Role} of {Valence} in {Conscious} {Perception}","bibtex-url":"https://osf.io/j5mdk","bibtex-doi":"https://doi.org/10.31234/osf.io/j5mdk","bibtex-abstract":"Recent theories claim that valence plays an important role in conscious perception (eg. Barrett \\& Bar, 2009). Inspired by these theories, we tested how valence judgments relate to similarity judgments and whether they correlate with different stages of processing in deep neural networks (DNNs). To support the hypothesis that all perception is valenced, we focused on micro-valence, (Lebrecht et al., 2012). Forty-seven participants provided similarity and valence judgments for 120 images of everyday objects using the odd-one-out task and the birthday task (Lebrecht et al., 2012). For the same images, we extracted activations from the layers of DNNs trained to classify objects. Representation similarity analysis (Hebart et al. 2020) and multidimensional scaling analyses highlight the role of valence in the similarity space. Further, DNN analysis showed that perceptual features of the stimuli contributed to both valence and similarity processing. Most importantly, valence correlated with activations in the early DNN layers, suggesting a role of low-level visual features in valence computation. These results indicate that valence computation may occur in early visual processing. They also show that valence is involved in similarity judgments, corroborating recent claims for the functional role of conscious experience (Cleeremans \\& Tallon-Baudry, 2022).","bibtex-language":"en-us","bibtex-urldate":"2024-09-16","bibtex-publisher":"OSF","bibtex-author":"Mentec, Inès and Ivanchei, Ivan and Cleeremans, Axel","bibtex-month":"sep","bibtex-year":"2024","bibtex-keywords":"Affect, Conciousness, Deep neural networks, Phenomenology, Similarity, Valence","modified":"20241008012320304","tags":"bibtex-entry","tmap.id":"07c5e202-9a0d-49f7-9672-3d7682ebebb7","text":""},
 {"title":"mercenary","text":"","created":"20240513211609960","modified":"20240513211609960","tmap.id":"2b23c7b0-2ae1-42cd-944f-28ddfa159af1"},
 {"created":"20241011223702622","title":"mere-choice","text":"","modified":"20241011223702622","tmap.id":"8053e24e-818c-47cc-8a34-dbe4efa2945f"},
-{"created":"20241214054223309","text":"* [[Formalism]] studies language because [[language shapes cognitive architecture|linguistic determinism]]. Verbal art can do this. But everyday language does this as well. (Merrill p.21)\n* [[associationism]]: the only innate mental process is the ability to [[associate]] ideas through e.g. contiguity, resemblance, [[cause & effect|causality]]. Johann Friedrich Herbart (1776-1841). (Merrill p. 22)\n** [[Shlovsky]] writes about [[enstrangement]] in light of associations: “In order to make an object a fact of art, it is necessary . . . to remove  the thing from the series of customary associations in which it is located\" M p.30\n* \"In sum, this theory of language describes it as a structure held in the mind that is produced by the most general (non-laguage-specific) mental processes. It also holds that this structure, for each individual, is a product of that person’s experience.\" (Merrill p. 24)\n* Philological paradigm bifurcated into //ergon// (utterances of the past) and //energeia// (speech activity in the moment). Studying the [[law]]s of //ergon// and the mental processes involved in //energeia// such as [[enstrangement]] and [[orientation]]. It is bifurcated because we cannot simply infer patterns in contemporary art given knowledge of what came just before. There is a gap between the study of //ergon// and the study of //energeia//. (Merrill p.25)\n* There are a number of different ways theorists attempted to fill that gap between //ergon// and //energeia//. For example, [[Tynianov]]'s theory of Literary Evolution. Other theorists closed the gap in other ways (M p.26)\n* philology = studying //ergon//. associationist psychology = studying //energeia//.\n* this gap allowed for individual creativity. The artist is free to make something new and not just stick to old patterns. The viewer is free to see art in something that wasn't intended that way or vise versa (M p.31). And by shaping language, individuals can shape how their society thinks. (M p.32)\n\nWhat formalism inherits and discards from the [[philological paradigm]] (M p.38)\n\n* same goals: \n** What is poetic language? \n*** poetry as contrasted with prose. Prose = science and poetry = the narrative, creative arts. //Two different modes of cognition//. Potebnia: both modes of cognition involve [[abstract]]ion.[[ \"poetic thinking is an explanation of a particular by another heterogeneous particular\"|learning through abstraction vs. learning through comparison to a concrete example]] whereas prosaic thinking explains the particular using an abstraction.\n** How is it that the same [[plot]]s are fount in tales from around the world?\n\n{{philological paradigm}}\n\n","title":"Merrill 2022 \"The Origins of Russian Literary Theory\"","modified":"20241217012458990"},
+{"created":"20241214054223309","text":"* [[Formalism]] studies language because [[language shapes cognitive architecture|linguistic determinism]]. Verbal art can do this. But everyday language does this as well. (Merrill p.21)\n* [[associationism]]: the only innate mental process is the ability to [[associate]] ideas through e.g. contiguity, resemblance, [[cause & effect|causality]]. Johann Friedrich Herbart (1776-1841). (Merrill p. 22)\n** [[Shlovsky]] writes about [[enstrangement]] in light of associations: “In order to make an object a fact of art, it is necessary . . . to remove  the thing from the series of customary associations in which it is located\" M p.30\n* \"In sum, this theory of language describes it as a structure held in the mind that is produced by the most general (non-laguage-specific) mental processes. It also holds that this structure, for each individual, is a product of that person’s experience.\" (Merrill p. 24)\n* Philological paradigm bifurcated into //ergon// (utterances of the past) and //energeia// (speech activity in the moment). Studying the [[law]]s of //ergon// and the mental processes involved in //energeia// such as [[enstrangement]] and [[orientation]]. It is bifurcated because we cannot simply infer patterns in contemporary art given knowledge of what came just before. There is a gap between the study of //ergon// and the study of //energeia//. (Merrill p.25)\n* There are a number of different ways theorists attempted to fill that gap between //ergon// and //energeia//. For example, [[Tynianov]]'s theory of Literary Evolution. Other theorists closed the gap in other ways (M p.26)\n* philology = studying //ergon//. associationist psychology = studying //energeia//.\n* this gap allowed for individual creativity. The artist is free to make something new and not just stick to old patterns. The viewer is free to see art in something that wasn't intended that way or vise versa (M p.31). And by shaping language, individuals can shape how their society thinks. (M p.32)\n\nWhat formalism inherits and discards from the [[philological paradigm]] (M p.38)\n\n* same goals: \n** What is poetic language? \n*** poetry as contrasted with prose. Prose = science and poetry = the narrative, creative arts. //Two different modes of cognition//. Potebnia: both modes of cognition involve [[abstract]]ion.[[ \"poetic thinking is an explanation of a particular by another heterogeneous particular\"|learning through abstraction vs. learning through comparison to a concrete example]] whereas prosaic thinking explains the particular using an abstraction.\n*** Veselovsky: poetic thought is associations between images\n** What are the limits on individual [[creativity]]?\n*** \n** How is it that the same [[plot]]s are fount in tales from around the world?\n\n{{philological paradigm}}\n\n","title":"Merrill 2022 \"The Origins of Russian Literary Theory\"","modified":"20241217012706672"},
 {"title":"message","text":"","created":"20221225011339515","modified":"20221225011339515","tmap.id":"3525996d-3328-42ed-a135-75235bc8e2de"},
 {"title":"messiah","text":"","created":"20220713171527760","modified":"20220713171527760","tmap.id":"cc0b4156-9680-40f5-9564-bcb01698be03"},
 {"title":"meta","text":"","created":"20230227203458601","modified":"20230227203458601","tmap.id":"b083c5d2-ffd4-4441-8b54-c9d162fa4b50"},