Anthony Taylor – författare

I have been asked to write a brief foreword to this volume honoring Hisako Ikeda, providing a review of the accomplishments in our field over the past four decades, when Hisako was an active participant. This I am delighted to do. It has been a most exciting time in vision research and Hisako has been right in the middle of much of the excitement, publishing on a wide variety of topics and providing much new data and many new insights. Hisako's research career can be divided by decades into four quite distinct areas of inquiry. In the 1950s, as a student in Japan, her research interests were psychophysical in nature, and she was concerned with visual illusions, figural aftereffects, and motion detec­ tion. In the 1960s, after her move to London, she began electrophysiological studies. Much of her work in the 1960s was concerned with the electroretinogram (ERG), its components, and the use of this electrical response for evaluating spectral sensitivities of the eye and retinal degenerations. This work represented the beginning of her electrodiagnostic clinical work, which continued until her retirement.

The Sherrington School of Physiology at St. Thomas' Hospital provided a natural venue for four days of enthusiastic debate on Sherrington's Final Common Path -the alpha motoneurone and related matters; Sherrington himself held a lecturership at St. Thomas' just over a century ago. The occasion was a happy one. Most participants already knew each other, the topics were familiar, the discussion was vigorous and critical but without personal rancor. The program had set out to encourage debate with 'critiques' both of the oral papers and the posters; their inclusion in the present volume helps to show where we are standing on rock rather than sand. In spite of a venerable history some surprisingly simple matters remain controversial, such as the information content of the signals from the Golgi tendon organs. To those working on alpha and gamma motoneurones and their control this volume provides an essential up-dating. Classical problems continue to be attacked on a broad front; advance is steady and continuous, a swelling tide rather than a sudden view of the summit. But in some sectors the difficulties are so great that to the outsider little might seem to change, the same battles continuing; but even here, the terms of debate change and concensus develops. Other branches of biology claim breakthrough upon breakthrough from the routine application of the new technologies, so we have to be the first to ask whether our classical approach to science can still be justified.

I have been asked to write a brief foreword to this volume honoring Hisako Ikeda, providing a review of the accomplishments in our field over the past four decades, when Hisako was an active participant. This I am delighted to do. It has been a most exciting time in vision research and Hisako has been right in the middle of much of the excitement, publishing on a wide variety of topics and providing much new data and many new insights. Hisako's research career can be divided by decades into four quite distinct areas of inquiry. In the 1950s, as a student in Japan, her research interests were psychophysical in nature, and she was concerned with visual illusions, figural aftereffects, and motion detec­ tion. In the 1960s, after her move to London, she began electrophysiological studies. Much of her work in the 1960s was concerned with the electroretinogram (ERG), its components, and the use of this electrical response for evaluating spectral sensitivities of the eye and retinal degenerations. This work represented the beginning of her electrodiagnostic clinical work, which continued until her retirement.

What made many of the great adventure comics of the 1960s so attractive were their fantastic painted covers by artist George Wilson. Unlike other comic book covers of the era, Wilson's covers harkened back to the era of pulp magazines and were spectacularly eye-catching. He turned in efforts for literally hundreds of comics titles including: Classics Illustrated, The Twilight Zone, Ripley's Believe It or Not, Dr.Solar, Magnus Robot Fighter, Turok, Son of Stone and Star Trek, to name but a few. This new art book focuses on over 300 examples of his cover art and features numerous examples of Wilson's artwork scanned from the originals together with many of the book covers he created including his extensive run on Avon's The Phantom (as well as his work on the Gold Key version).