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|Alexia||Inability to recognize text.|
|Akinetopsia||The loss of motion perception.|
|Alexithymia||While not strictly a form of agnosia, Alexithymia may be difficult to distinguish from or co-occur with social-emotional agnosia. Alexithymia is deficiency in understanding, processing, or describing emotions common to around 85% of people on the autism spectrum. Alexithymia is believed to be due to an information processing delay in the combined processing of information in the left and right hemispheres, resulting in poor differentiation between body messages and emotions.|
|Amusia or Receptive amusia||Is agnosia for music. It involves loss of the ability to recognize musical notes, rhythms, and intervals and the inability to experience music as musical.|
|Anosognosia||This is the inability to gain feedback about one’s own condition and can be confused with lack of insight but is caused by problems in the feedback mechanisms in the brain. It is caused by neurological damage and can occur in connection with a range of neurological impairments but is most commonly referred to in cases of paralysis following stroke. Those with Anosognosia with multiple impairments may even be aware of some of their impairments but completely unable to perceive others.|
|Apperceptive agnosia||Patients are unable to distinguish visual shapes and so have trouble recognizing, copying, or discriminating between different visual stimuli. Unlike patients suffering from associative agnosia, those with apperceptive agnosia are unable to copy images.|
|Apraxia||Is a form of motor (body) agnosia involving the neurological loss of ability to map out physical actions in order to repeat them in functional activities. It is a form of body-disconnectedness and takes several different forms; Speech-Apraxia in which ability to speak is impaired, Limb-Kinetic Apraxia in which there is a loss of hand or finger dexterity and can extend to the voluntary use of limbs, Ideomotor Apraxia in which the gestures of others can’t be easily replicated and can’t execute goal-directed movements, Ideational Apraxia in which one can’t work out which actions to initiate and struggles to plan and discriminate between potential gestures, Apraxia of Gait in which co-ordination of leg actions is problematic such as kicking a ball, Constructional Apraxia in which a person can’t co-ordinate the construction of objects or draw pictures or follow a design, Oculomotor Apraxia in which the ability to control visual tracking is impaired and Buccofacial Apraxia in which skilled use of the lips, mouth and tongue is impaired.|
|Associative agnosia||Patients can describe visual scenes and classes of objects but still fail to recognize them. They may, for example, know that a fork is something you eat with but may mistake it for a spoon. Patients suffering from associative agnosia are still able to reproduce an image through copying.|
|Auditory agnosia||With Auditory Agnosia there is difficulty distinguishing environmental and non-verbal auditory cues including difficulty distinguishing speech from non-speech sounds even though hearing is usually normal.|
|Autotopagnosia||Is associated with the inability to orient parts of the body, and is often caused by a lesion in the parietal part of the posterior thalmic radiations.|
|Color agnosia||Refers to the inability to recognize a color, while being able to perceive or distinguish it.|
|Cortical deafness||Refers to people who do not perceive any auditory information but whose hearing is intact.|
|Finger agnosia||Is the inability to distinguish the fingers on the hand. It is present in lesions of the dominant parietal lobe, and is a component of Gerstmann syndrome.|
|Form agnosia||Patients perceive only parts of details, not the whole object.|
|Integrative agnosia||This is where one has the ability to recognize elements of something but yet be unable to integrate these elements together into comprehensible perceptual wholes|
|Mirror agnosia||One of the symptoms of Hemispatial neglect. Patients with Hemispatial neglect were placed so that an object was in their neglected visual field but a mirror reflecting that object was visible in their non-neglected field. Patients could not acknowledge the existence of objects in the neglected field and so attempted to reach into the mirror to grasp the object.|
|Pain agnosia||Also referred to as Analgesia, this is the difficulty perceiving and processing pain; thought to underpin some forms of self injury.|
|Phonagnosia||Is the inability to recognize familiar voices, even though the hearer can understand the words used.|
|Prosopagnosia||Also known as faceblindness and facial agnosia: Patients cannot consciously recognize familiar faces, sometimes even including their own. This is often misperceived as an inability to remember names.|
|Semantic agnosia||Those with this form of agnosia are effectively ‘object blind’ until they use non-visual sensory systems to recognise the object. For example, feeling, tapping, smelling, rocking or flicking the object, may trigger realisation of its semantics (meaning).|
|Simultanagnosia||Patients can recognize objects or details in their visual field, but only one at a time. They cannot make out the scene they belong to or make out a whole image out of the details. They literally “cannot see the forest for the trees.” Simultanagnosia is a common symptom of Balint’s syndrome.|
|Social emotional agnosia||Sometimes referred to as Expressive Agnosia, this is a form of agnosia in which the person is unable to perceive facial expression, body language and intonation, rendering them unable to non-verbally perceive people’s emotions and limiting that aspect of social interaction.|
|Somatosensory agnosia||Or Astereognosia[clarification needed] is connected to tactile sense – that is, touch. Patient finds it difficult to recognize objects by touch based on its texture, size and weight. However, they may be able to describe it verbally or recognize same kind of objects from pictures or draw pictures of them. Thought to be connected to lesions or damage in somatosensory cortex.|
|Tactile agnosia||Impaired ability to recognize or identify objects by touch alone.|
|Time agnosia||Is the loss of comprehension of the succession and duration of events.|
|Topographical agnosia||This is a form of visual agnosia in which a person cannot rely on visual cues to guide them directionally due to the inability to recognise objects. Nevertheless, they may still have an excellent capacity to describe the visual layout of the same place|
|Verbal auditory agnosia||This presents as a form of meaning ‘deafness’ in which hearing is intact but there is significant difficulty recognising spoken words as semantically meaningful.|
|Visual agnosia||Is associated with lesions of the left occipital lobe and temporal lobes. Many types of visual agnosia involve the inability to recognize objects.|
|Visual verbal agnosia||Difficulty comprehending the meaning of written words. The capacity to read is usually intact but comprehension is impaired.|
Lindy T. Shepherd
“Playing off the grid”
New works by Rick Jones
Abstract urbanscape painter Rick Jones has spent the last five years or so as an active artist, collaborator and supporter of the Orlando arts community. This impromptu display of nine new works at Taste restaurant in College Park will likely strike those familiar with his compositions as something altogether different; it’s as if his typical geometrical pieces have been whirled about. In addition to more light and vivid colors, there’s a sense of movement and freedom achieved by Jones’ looser hold on the grid.
Even in March, when Jones held a solo show, Deep Field, at Stardust Video & Coffee, critic Richard Reep wrote on his website that the title piece “combines geometries with a loose orthagonality integrating an angle that is neither 45 nor 60 degrees but somewhere in between, the resulting facets are uniformly dark or light with tones either purely white nor purely black.”
He’s broken away from that uniformity in this show, which consists of small graphite drawings and acrylic paintings. Fresh from a trip to New York, Jones says he whipped out the pieces in a period of calm creativity. None of them are titled, and they pop out in the narrow room that serves as a gallery near the front entrance – it’s cozy if not conducive to far-away perspectives.
In Jones’ cityscapes in black, white and shades of gray, the horizon rises and falls with what appears to be differing high-rise structures, and the forefront conjures a slice of urban jungle. There are multitudes of lines and angles that cross and intersect, in addition to the occasional asymmetrical mass that suggests form, such as a tree or a
The acrylics also depart from uniformity. On the widest canvas, the colors and subject matter change from the left to the right side, suggestive of a landscape; a tall, dense structure appears to be flanked by “scenes” in green and blue set against a white background. In a small, square painting, black outlines are thick and close up, like an architectural detail of a New York City apartment building; therein, a block of intense purple imparts drama – it’s just another story in the big city of life.
There’s warmth in these works that makes them breathe and gives a sense that they’ve been released from their trappings.
by Richard Reep
In the wintry sulk of Central Florida’s art exhibitions, Rick Jones’ Deep Field is an outlier, being neither representational nor topical, but rather seemingly a few specimens excavated from high abstract expressionism, fitting little into the multipolar art scene slopping around in the galleries and museums of today. He is mining some of the traditions of that movement and presenting a view more than tinged with the philosopical approach of modernism, and as such his work is interesting in this day of unraveling pluralism as we question nearly everything and find only anti-heroes and decay to be worthy of worship. Jones takes the opposite approach, and his fairly rigorous canvases are worthy of note for their aesthetic adherence to the principles of modernist tradition.
Jones is studying structures that have nearly no hierarchy, no perspective, no beginning or end, mostly no depth or edge or even, damn it, a focal point. The modernists threw all of these out, and Jones carefully takes his point of departure from these rules to develop geometries with nested, repeating patterns that are neither organic nor purely artifical. He appears to hold back from dipping a toe in either pool, and therefore studiously avoids representing something else: “Art as art” (Ad Rinehardt’s famous epigram) a rule by which Jones vigorously abides.
“Deep Field”, the painting with the show’s title, combines geometries with a loose orthagonality integrating an angle that is neither 45 nor 60 degrees but somewhere in between, and the resulting facets are uniformly dark or light with tones neither purely white nor purely black. Contemplation of this piece leads the viewer into an exercise which we nearly never do today, but which was a favorite pastime of viewers of abstract expressionism, an exercise in which the mind slowly discards all of the conventions imposed upon it from school: seek, find not a center; seek, find not an edge, seek, find not a hierarchy, seek, find not a purity; and so on until one reaches a unique placeless space far outside of the closed universe in which we educate ourselves about art.
The destination on this particular journey is an inner aesthetic one that is worth the trip. Jones’s larger pieces such as “Gold” takes one effectively into this wierd spatial no-man’s land, although it has a slight clustering of density that might derail the train a bit into a conventional focal point. But largely these work, and they prove that art, as critic Suzi Gablick once noted, is timeless in its appeal, unlike science (to which modernism kept hitching its wagon, only to be frustrated) in which each new notion is quickly replaced by the next. In today’s juxtapoz world, one can still enjoy a modernist treat like these paintings provide.
Jones isn’t a purist, and betrays a certain sense of humor in a few of his paintings. “The Geography of Nowhere” breaks his rules to turn one of his crystalline, non-hierarchial forms into a cartographical allusion, perhaps stretching his point to suggest the modernist placelessness influence on our cities. But if one ignores these mannerist distractions – a sop, perhaps, to viewers who find his more disciplined canvases a bit too austere – the rest of the show is quite good.
Modernism, thank goodness, failed in its scientific pretensions, and a Pollock or a Rothko is quite as relevant today as it was 50 years ago; unlike a science paper on, say, Pluto, which would be negated by research coming after. Jones’ exploration of some of the lost concepts of Modernism is pleasing, and he stakes out a unique position in Central Florida with Deep Field.