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The above top two images are pictures of cosmic background radiation, one provided the Wilkinson Microwave Anisotropy Probe (WMAP) and the second from top, a more recent image, is from the Planck probe in even higher resolution. WMAP and Planck were small spacecraft equipped with microwave telescopes, or receivers, sent out into deep space by NASA and the European Space agency respectively. The bottom two images show how the visual field is construed from two overlapping monocular fields (‘Visual Field’, n.d.), and a representation of my subjective visual field as I watch a detail from Van Gogh's Starry Night, complete with the occluding nose(s).
Recently, over the past 10 years, increasing evidence has been found that there are a number of anomalies in the cosmic background radiation that deviate, in structured ways, from a random (Gaussianly) distributed universe (see Trosper, 2014, for an excellent layman's introduction).
The universe appears to have a preferred alignment with which even our solar system conforms (Huterer, 2007). Groeneboom and Eriksen's (2009; see also Carroll, n.d.) analysis of the US WMAP data found two poles (shown as red dots in the image second from top).
More recent analyses of WMAP and Planck space probe data have found an jokily named "axis of evil" (Land & Magueijo, 2005; Aron, Jacob, 2013) which is shown in the second image above as a white line through the cosmic background radiation data. On each side of this axis there are statistically significant asymmetries in overall temperature (Yoho, Copi, Starkman, & Kosowsky, 2014), quasar light polarisation (Hutsemekers, 2014, slide 53-56), and right/left galaxy spin (Longo, 2007, 2008) prompting the latter author to suggest that the universe has a "handedness" about this "axis".
Since the WMAP and Planck probe data correspond with each other, even though collected from difference coordinates in different ways, it is unlikely that this is some "foreground" distortion produced by the measurement apparatus, or local interference such as the effect of our sun. This article will argue that the previous research has not considered the "foreground" at close-quarters enough.
These anomalies have seriously challenged the way that physicists see the universe, prompting one team to ask "Is everything we know about the universe wrong?" (Sawangwit & Shanks, 2010).
(Skip this bit till the line of asterisks ********** if you have read my other posts on this topic )
As already discussed, Ernst Mach, as well as Buddhist philosophers and Aristotle, have hypothesised that the stuff of the universe is our sensations (mind, soul) and specifically our visual field (Mach, 1897). According to this view, "things", "matter", "galaxies", "particles" are the theories and hypotheses that we have to explain sensations.
After reading Mach's phenomenalism, and the closely related Humian empiricism, Einstein postulated his theory of special relativity and the principle of invariant light speed (see Norton, 2010). As a consequence, there is a prohibition of motion faster than light. That the speed limit of the whole universe just so happens to be that of the fastest sense of recently evolved carbon based life form called "humans" on a cosmic speck called "the Earth" is no coincidence. This fortuitousness - which would otherwise be preposterous -- can easily be explained from a Machian holistic perspective (Takemoto, 2014). If the stuff of the universe is our sensations, then it is a tautology that nothing can go faster than the speed of our fastest sensation, light. As an interpretation of our visual field, the universe is of course made of this "light". Phenomenalist, empiricist reasoning of this type be used to explain other properties of the universe.
Particularly, (as discussed here) recent advances in string theory have suggests that the universe is flat, or "holographic," (Susskind, 1995) again, as is our visual field. The hypothesis that we live in a holograph is now being tested by the Fermi lab (Hogan, 2013) and the results are expected soon, but the fact that the universe is within 0.4% of flat has already by demonstrated by the WMAP CBR data (NASA/WMAP Science Team, 2012). If the universe is genuinely flat and three dimensionality an "emergent property" then for me this can not be explained in any non-Machian way: a flat "holographic universe" can only be an interpretation of our, human sensations. But there is still more evidence.
Still more recent research to explain the anomalies in the Cosmic Background Radiation data suggest that one way of of explaining some of the anomalies is to conclude that the universe is not spherical but ellipsoidal (Campanelli, Cea, Fogli, & Tedesco, 2011; Cea, 2014, see my earlier post). This theory does not seem to have caught on because physicists -- still convinced of a "The Matrix"-like, Kantian 'real world' out there, behind appearances, I presume -- can see no explanation as to why the universe should be elliptical. NASA astrophysicist Gary Hinshaw is quoted as saying, "It is actually difficult to understand how an ellipsoidal model would arise 'naturally' in cosmology, so the burden switches from explaining a very mild 'anomaly' to explaining a fundamentally new feature of our universe,"(Choi, Charles, Q, 2006).
*******************************************************************************
If the "universe" is our interpretation of our sensations and in particular the visual field, that vast ellipse of light that we find before (or engulfing) us, then it seems appropriate that the theory and data regarding the universe should conform to the subjective experience shown in the bottom image. Van Gogh's swirls suggest that he may have been able to see asymmetries in his visual perception. I am subjectively unaware of them, but research on visual perception demonstrates that such asymmetries exist.
I suggest therefore, that the anomalies in the cosmic background radiation data may be explained by consideration of asymmetries of the human visual field and visual cortex. Our visual field is formed from the unification of two roughly circular monocular two dimensional fields which means that is approximately elliptical.
Furthermore, it has been known for some time to psychologists and neuroscientists that there the visual field has horizontal and vertical asymmetric properties. For example there is left-right asymmetry in the processing of local and global visual information. Navon figures such as that below
T
T
T
T
T T T T
are processed faster globally (as in this case an L) in the left visual field and processed faster locally (as in the above case as a T) in the right visual field (Yovel, Yovel, & Levy, 2001; McKone et al., 2010).
This asymmetry in local and global processing parallels asymmetries in low versus high visuo-spatial frequency. "Spatial frequency refers to the number of dark-light cycles per unit of space - the more cycles per unit of space, the higher the spatial frequency (Hellige, 1996, p487)."
There are also differences in visual processing between the upper and lower parts of the human visual field (Genzano, Di Nocera, & Ferlazzo, 2001).
These vertical asymmetries sometimes match those found in the left-right asymmetry (e.g. Christman, 1993) where recognition of local features (the Ts in the above) of Navon figures is better in the upper left visual hemifields, than in the lower right.
In a different type of discrimination task Berardi & Fiorentini, (1991) found the opposite difference in ability but the same morphology. They write "The data shown in Fig. 1, A and B, confirm the previously observed asymmetry between the left and the right visual hemified, probably reflecting hemispheric specialization (Fiorentini & Berardi, 1984). A superiority of the lower hemifield with respect to the upper hemifield was also observed in the present discrimination task."
This and other results finding visual processing differences separated along an axis including the left and lower, as opposed to the right and upper quadrants of the visual field, presents a pattern of processing ability in the shape of a rotated 'S' axis or Taoism symbol similar to an inverted form of the CBR "axis of evil," where the left side is extended across the top, and the right side extended across the bottom. In other words, the Taoism symbol morphology appears to be shared by both the cosmos and human visual field/cortex. I argue that the morphological similarities between the visual field and the universe are in all cases, no coincidence. These asymmetries of the visual field may explain the different "temperature" of the hot and cool "lobes of the universe" (Huterer, 2007) on either side of the CBR "axis of evil."
I am probably imagining the similarity between the asymmetry of the laminar distribution in the human visual cortex (Eickhoff, Rottschy, Kujovic, Palomero-Gallagher, & Zilles, 2008) and the asymmetry of the WMAP and Planck CBR power spectrum (see Bennett et al., 2013, pp 37-38 and Francis, 2013 respectively), but the point of this article is that both are asymmetrical, have a similar morphology, and this is predicted by a phenomenalist, empiricist or holistic interpretation of both, really the same, sets of data (Takemoto, 2014). I don't seriously entertain this notion but perhaps the "cold spots" occluded by "supervoids" (Szapudi et al., others, 2015) found in the CBR map of the universe, might correspond to the blind spots in our visual field.
In other research on visual field asymmetries in mental rotation abilities, (Burton, Wagner, Lim, and Levy (1992) found that clockwise mental rotations are performed faster in the left visual field were counterclockwise rotations are performed faster in the right visual field. These visual processing asymmetries parallel the galaxy rotation asymmetries found by Longo (2007, 2008).
Finally to test this hypothesis I attempt to find a novel feature of the cosmic background data, predicted by research on the visual field. One of the most cited evolutionarily sound asymmetries in visual field processing, and the reason perhaps why bifocal glasses are so easy to adapt to, is that proposed by Previc (1990): the upper visual field is more adept at processing distant stimuli than the lower visual field. Is there a similar phenomena is present in the cosmic background data? I was initially unaware of any such parallel.
It would seem that the answer is very possibly yes. An anomalous "dark flow" (Kashlinsky, Atrio-Barandela, Kocevski, & Ebeling, 2009) of galaxies away from us into the distance. This happens to occur, fortuitously or not, in the upper half of diagrams of the cosmic background radiation. Some cosmologists are arguing that dark flow suggests the presents of another universe sucking galaxies into the distance. Others have argued that the movement suggests that the universe is at a tilt (Atrio-Barandela, Kashlinsky, Ebeling, Kocevski, & Edge, 2012). If part, and in some sense the "upper part" of the universe were to found to be tilted away then this might correspond to the way in which the visual field is titled in its specialization toward foreground and distant visual processing. The dark flow anomaly remains controversial but one of the main proponents Dr. Kashlinsky is quoted as saying "This flow suggested that the universe had somehow become lopsided, as if space-time itself was behaving like a tilted table and matter was sliding off" (Maggine, McKee, 2013). I rest my case.
Conclusion
In any event, as science finds more similarities between experience and the universe as a whole, we shall perhaps be persuaded that the distant stars are, in a sense, not so distant at all. I am not of course suggesting that will suddenly be able to touch the stars. But to be realistic, there should be a reversal in our understanding of the nature of the universe. Sensations are often thought of as data to help us understand the rational scientific universe "out there" (e.g. Jackson, 1986) . It is really rather the case that, as Mach (1897) and Hume (1739) argued, that the rational scientific universe is a matrix of information and hypotheses, blather not matter, that serves to facilitate our understand our sensations, the stuff, the being of the universe.
Afterword
As always, I end by asking, what keeps the the stars out there? What separates us from the world? I suggest it is because we think we have someone with us as we watch our sensations, the stars. This convinces us that the Kantian 'thing it itself' is more than a hypothesis, more than a kind of simulation or role playing game .
This suggestion may seem a very depressing solipsism each being trapped inside our own private black hole. But it could also be argued, on the contrary, that the unreal "spirit of gravity" (Nietzsche, 2006) with whom I pretend to converse, prevents me from realising that universe of which I am a part, is itself part of the multiverse (Good, 1972), and that we are connected. In the words of Terrence Mallick, (Malick, 1999) we each stand in the others light.
Image second from bottom
www.vision-and-eye-health.com/visual-field.html
Should you wish that I cease and desist please be so kind as to comment below or contact me via the email link at nihonbunka.com
Bibliography
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Taken at Pohlen Park and Headon Stadium. Matamata.
"Parkside Villas" is the housing complex behind Headon Stadium.
(estimated "highest" altitude 40-50 meters).
Loads of Fun .
Photos and this video on Margaret's stream
www.flickr.com/photos/89618537@N02/36080297313/in/photost...
Part I
Human brains are weird, glorious and driven by a delicate yet robust interplay of various opposing forces. Think about a human being performing a simple task within an environment: you might think of walking through it. Sounds simple, and yet the complexity behind it is beyond our awareness, as the Moravec’s paradox shows. Namely, we are “least aware of what our minds do best”, and going beyond automatic physiological processes and embodiment, merely moving around in the environment is one of those processes. AI researcher Moravec, in the dawn of robotics, noticed that it is relatively easy to “make computers exhibit adult level performance on intelligence tests” or playing chess, and yet “difficult or impossible to give them the skills of a one-year-old when it comes to perception and mobility”. This paradox reflects our brains and how we evolved, and is important to keep in mind when considering human behavior in the built environment.
The act of navigating, or walking through a space, as simple as it is, involves all our senses and motor function, and consists of a number of phases. From mere standing upright, to being visuo-spatially aware of our own body parts, our body’s position in space and the structure of the space itself, then orienting within that space, deciding on the course of action and strategy of movement, execution of said movement, and finally actually moving and navigating through the space. All of the mentioned continues throughout the entire simple action, with our senses constantly updating the feedback from the environment, and our brain adapting sets of actions accordingly. Furthermore, if your goal is to reach a corner of a room or a town square, our brain has to deal with contrasting demands: on one hand to focus on the plan and the goal-relevant stimuli, on the other to be aware and prepared to quickly shift attention to unexpected, potentially goal-relevant, stimuli. This tension between being focused and flexible, between order and chaos, is what makes an organism adaptive.
This is one of the first levels, aside from ergonomics and human biophysiology, which architects should consider, research and collaborate on with neuroscientists. On another level of overlap between architecture and neuroscience, there is cognitive and affective neuropsychology.
Part II
If you are an architect and you design a space, to paraphrase Carl Buechner, people will forget what materials you used, they will forget what the space looked like, but they will never forget how you made them feel. Research in neurophysiology shows that emotionally charged content is most likely to consolidate into long-term memory, so least likely to fade. For example, one of the most vivid types of memory is called flashbulb memory because it acts like a flash of light sealing in the details of a scene or a moment- and is elicited by an unexpected and highly emotional event. In general, we evolved to function in our environment relying heavily on social and emotional cues, and our brains are simply wired to process and remember emotionally charged information better than emotionally neutral information. In a way, which is essential to architects and designers, our brains prioritise social and emotional content.
The emotion of surprise, for example, is crucial in the process of learning about the world, from the earliest developmental stages up to two years of life, to sheer intellectual curiosity in adulthood. The force driving a baby to push a balloon off the edge of a table teaches about the basic physical laws of the world through exception and surprise. It is the same force that drives a scientist and an artist to experiment, just to ‘see what happens’, and is closely related to curiosity and exploration. By using the simplest example of walking through a city square, we can imagine how unexpected stimuli might inspire change of route or exploratory behaviour.
While surprise is, much like fear and disgust, a more basic, visceral and unconscious emotion, and as such more closely connected to survival, complex emotions can obviously be just as uncontrollable and all-consuming. The emotion of awe, for example, contains elements of many other, more basic emotions, such as surprise, fear, amazement, confusion and anxiety. Invoked by the sublime, awe is a potent combination of wonder and fear, one of the strongest positive emotional experiences, with deep, long-term and transformative effect. It is understandable then, how intertwined awe is with the idea of architectural grandeur, religious architecture and aesthetic experiences.
As Burke suggested in his treatise on the sublime, “A true artist should put a generous deceit on the spectators, and effect the noblest designs by easy methods”, and these easy methods seem to include building structures that are just the right size and height, so that the imagination of the spectator/user can “rise to any idea of infinity”. It is this idea of struggling to represent infinity and inducing fear/awe through architecture that brings me to the next chapter.
What can architecture teach us about neuroscience?
We are used to talking about different styles in art, seeing them spill onto philosophy, witnessing them influence science and society, having them intertwined with each other and opposed to one another. We are familiar with the timeline of styles: from long, slow periods of thousands of years, then to hundreds of years, to a recent fast procession and overlap of styles lasting a few decades or even years. Art forms go through art styles approximately, and playfully, at the same time. However, of all temporal and spatial arts, architecture, arguably the most technical, most social and most political art form, is without a doubt the slowest. However slow, it still manages to catch up and embody the spirit of the moment. In case of Gothic architecture, the reflection of the times was presented marvelously. Goethe called architecture ‘frozen music’, yet other than form, rhythm and structure, it is also ‘frozen zeitgeist’, imbued with meaning, layers of social, political, cultural and economic clues, psychological subtext, and functional perspectives.
Form follows function (Sullivan, 1896), and similarly to the terrible1 beauty of a butcher’s cleaver, whose curves and angles are reminiscent perhaps of Art Nouveau2, Finish design3 or even Neo-deconstructivism4, Gothic architecture serves a highly specific function. Namely, its main architectural program was sacred architecture: the church, the cathedral and the abbey. It was sacred architecture that shaped all the elements of Gothic, later just transplanted into other programs such as governmental and university buildings. Architecture is a robust monument to time (zeitgeist) and to space (genius locii)5, and in this case as well, we must view Gothic aesthetics through its form and function equally. The main elements of Gothic architecture are flying buttresses, rib vaulted ceilings, and pointed arches, with other characteristics including stained glass windows and rich sculptural decoration. It is essential to point out that the main three elements are constructive, not decorative, a contrast to previous styles such as Ancient Greek or Byzantine architecture. Never before has construction been so (implicitly) revered and so exposed, not even during the dome-obsessed Ancient Roman architecture. Walter Gropius said that ‘architecture begins where engineering ends’, but the case of Gothic clearly shows that the two are intimately and symbiotically intertwined. Would it even be possible for religion to develop in the way it has, were its main architectural aesthetics decorative, and not constructionist? Never, for it was the engineering feats of Gothic that inspired awe and reverence. In a time without reinforced concrete, steel, other modern materials and technologies, with only stone and brick at their disposal, architects were asked to create temples worthy of God’s glory: light, immense, soaring, weightless, heaven-like. The way they tried to achieve this is the very essence of Gothic aesthetic.
Flying buttresses, those elegant, thin, arched diagonals on the sides of Gothic cathedrals that look like legs of a spider or opulent scaffolding, are a crucial aesthetic element. Their beauty comes from their form and their function simultaneously, but perhaps most of all, their controversy. A common critique of Gothic architecture is that it is a lie, a structure pretending to be something it is not, a simulacrum of a temple. And it is true. Flying buttresses are in fact crutches, holding the building from the outside, always slightly hidden, with their supporting columns richly decorated as to draw the attention away. Indeed, Gothic architecture is meant to be experienced from two locations- from the inside, and from the front. The sides and the back are the machinery behind the curtain, a somewhat embarrassing testament to the builder’s weakness. Like film set construction, where sets are designed to offer an illusion of an exterior (frontal façade supported by scaffolding), and interior (i.e. rooms, halls), Gothic cathedrals feature a glorious frontal façade, and a lavish interior. Two locations, two types of experience, and one story told by both. The religious experience is therefore a carefully crafted illusion, the cathedral itself merely a set, the rituals- performance art.
Even other elements of Gothic architecture aesthetics are, in a way, a lie. As mentioned before, the task of building a temple in the glory of God had many demands, from size, height, proportions, to lighting. One could usually not be achieved without sacrificing the other. The impossible height of cathedrals, for instance, was achieved by using ribbed vaults, and simulated by adding vertical bony elements in the interior and long narrow windows. Windows themselves were adorned with stained glass to distract from the fact they offered little illumination. Stained glass replicated the stories told on the dark walls, so there was a daylight and night time mode of reading the images. The width of the cathedral was simulated by building parallel aisles and galleries, and the magnitude was simulated by adding a transept. The upper part of the interior distracted from a thick forest of necessary columns on the ground floor level, and the columns themselves were ribbed or connected to the vault as to appear more delicate and elongated. The entire aesthetics was a play of illusions and deceptions.
However, there is another side to the Gothic style. To build such grandiose, yet ethereal and lace-like structures from stone and brick took not only craftsmanship and innovation, but adamancy and devotion only art can conceive. The contrast between available materials and engineering knowledge of the times on one side, and impossible demands and lofty aspirations of the architectural program on the other, is a stark, unreasonable one. Yet the story of its conquest is positively endearing, and a telling monument to the human spirit. Perhaps this is the reason why there are so many Neo-gothic styles and revivals, why Gothic architecture seems to enchant us so much, why it is a constant source of inspiration in art, from literature to film- where it is often used as a backdrop of the most emotionally charged genres. Indeed, Gothic aesthetics speaks to our most basic, visceral emotions: fear and love. The two experiences we have the least control of, the lowest common states, and the basis of all passions.
It is fascinating how architecture designed and built in the glory of a divine entity ended up being almost exclusively about humanity instead, revealing human neurophysiology, psychology of an individual and of the society much more than it ever revealed about God.
References
1 Cf. Kant’s and Burke’s ideas on the sublime, i.e. terrible, overwhelming beauty.
2 Particularly Hector Guimard’s façades and fenestration.
3 Particularly Alvar Aalto’s wooden furniture.
4 The classification of arts to temporal and spatial is never neat, in case of architecture specially. As a discipline and an expression, it is highly dependent of both time and space, with zeitgeist (spirit of the times) on one side, and genius loci (spirit of the place) on the other, both interacting with and shaping form and function.
5 The famous Greek order, consisting of three (later five) types of columns, was indeed a constructive element. However, it was almost exclusively the decoration of the column that changes, with no innovation to construction. Furthermore, construction of sleek, stone Greek temples was copied in form and hommage decoration from its predecessor- the wooden temple.
theccd.org/article/what-can-neuroscience-teach-us-about-a...
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"Toy Grade Quadcopter"
With altitude hold ,
Return to home,
Flips and Rolls ,
Headless mode ( will travel in desired direction no matter which way it is facing ).
Flight time around 6- 7 Minutes.
Range around 100 meters from transmitter.
Video recorded from my head mounted Eken Action Camera.
Taken at Pohlen Park and Headon Stadium. Matamata.
"Parkside Villas" is the housing complex behind Headon Stadium.
(estimated "highest" altitude 40-50 meters).
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Development of a Virtual Canine Dissection Table Using Touch Table Technology
Understanding complex three-dimensional (3D) relationships between structures is crucial for successful anatomy learning. As the veterinary curriculum moves away from traditional teaching methods and a reliance on cadaveric dissection, there is an increasing need for novel learning resources to be developed so students can learn and retain the visuo-spatial information they will require as clinicians, outside a dissection laboratory. This project developed an application allowed users to directly manipulate the 3D skeleton model on a touch table display and choose from a host of functions to learn more about canine skeletal anatomy.
Developed by: Eduoard Seguin and R.H. Sylvester (standardised by Goddard).
Year: 1913 (however earlier versions of the form board existed in 1895)
Purpose: The Seguin Form Board was used to assess the ability/intelligence of children and individuals with severe mental retardation in a non-verbal manner. By placing the blocks into the slots required much could be garnered in terms of intelligence, visuo-spatial reasoning, and general ability.
Developed by: Eduoard Seguin and R.H. Sylvester (standardised by Goddard).
Year: 1913 (however earlier versions of the form board existed in 1895)
Purpose: The Seguin Form Board was used to assess the ability/intelligence of children and individuals with severe mental retardation in a non-verbal manner. By placing the blocks into the slots required much could be garnered in terms of intelligence, visuo-spatial reasoning, and general ability.
Developed by: Eduoard Seguin and R.H. Sylvester (standardised by Goddard).
Year: 1913 (however earlier versions of the form board existed in 1895)
Purpose: The Seguin Form Board was used to assess the ability/intelligence of children and individuals with severe mental retardation in a non-verbal manner. By placing the blocks into the slots required much could be garnered in terms of intelligence, visuo-spatial reasoning, and general ability.
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Aaron Schurger GS
Department of Psychology
In 1957 Craig Mooney, a cognitive psychologist, published “Age in the development of closure ability in children.” He used images similar to the ones above to test the ability of children to perform “perceptual closure”—that is, to form a coherent perceptual impression on the basis of very little visual detail. Images of this type, often referred to as Mooney faces, have become common in cognitive psychology experiments because they offer a means of inducing variable perception with constant visuo-spatial characteristics (the images are very often not perceived as faces if viewed upside down). I have used such images in an experiment I conducted with a “blindsight” patient, to test for signs of face perception without awareness. I used many of Mooney’s original 40 images, but also created a few hundred of my own (with the help of my wife, Corinne Foy). Along the way, I have come to appreciate many of the images as being very pleasant to look at. It is fascinating to notice how little visual information it takes to experience a face (humans have evolved very effective and efficient mechanisms for the perception of faces), and at the same time to notice the variety of other shapes and contours that emerge.
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/
Edition 2015 en faveur d'Arthur 4 ans, sourd de naissance et de sa grande sœur Laura 6 ans, dyspraxique visuo spacial. www.coeur2cox-bzh.com/