Inflection impairments are commonly noted in aphasia, particularly non-fluent variants, where descriptions of such difficulties often focus on inflection omission. This aligns with rule-based theory, in which inflected forms should be more difficult to produce than their uninflected counterparts. Recent studies address noun inflection for number and potential effects of the relative frequency of singular and plural forms (dominance effects). However, none examine number errors qualitatively or in spontaneous speech. We present quantitative and qualitative analyses of such errors in nouns produced by twelve people with aphasia in spoken Cinderella narratives, examining: error rate; error types and nouns involved; relationship between error production and dominance; and speakers’ consistency with error production and flexibility in varying the noun forms concerned. Twelve unimpaired speakers provide comparison data. While error rates were low, arguably more important is error type. Singularisation and pluralisation errors were observed, all on regular nouns and involving production of the dominant form. The pluralisation errors, all occurring on references to Cinderella’s glass slipper, arguably challenge rule-based predictions that the singular is easier to retrieve than the plural. We suggest constructivist, usage-based theory as a promising framework to characterise such productions. Implications for aphasiology and clinical practice are also discussed.

Although environmental and heritage interpretation aims to connect humans with their natural and cultural heritage, and has the potential to contribute to a vision of sustainable living, it often falls short of engaging and inspiring its audiences. Some interpreters advocate the use of artistic approaches to create more affective (imaginary-emotional-sensory-aesthetic) experiences. One approach considered compatible is drama. Powerful dramatic experiences can embed interpretive stories in the emotions and leave enduring impressions. Drama is accepted as an interpretive tool overseas, yet it is under-utilised in Australia. How can it be used to strengthen interpretation in this country? This paper presents the outcomes of research investigating the perceptions of ten Queensland practitioners of dramatised interpretation regarding drama's strengths, limitations and value as a tool in interpretation. The authors contend that drama has much to offer interpretation, although further evaluative studies are clearly needed.

The two contrasting theoretical approaches to visual perception, the constructivist and the ecological, are briefly presented and illustrated through their analyses of space and size perception. Earlier calls for their reconciliation and unification are reviewed. Neurophysiological, neuropsychological, and psychophysical evidence for the existence of two quite distinct visual systems, the ventral and the dorsal, is presented. These two perceptual systems differ in their functions; the ventral system's central function is that of identification, while the dorsal system is mainly engaged in the visual control of motor behavior. The strong parallels between the ecological approach and the functioning of the dorsal system, and between the constructivist approach and the functioning of the ventral system are noted. It is also shown that the experimental paradigms used by the proponents of these two approaches match the functions of the respective visual systems. A dual-process approach to visual perception emerges from this analysis, with the ecological-dorsal process transpiring mainly without conscious awareness, while the constructivist-ventral process is normally conscious. Some implications of this dual-process approach to visual-perceptual phenomena are presented, with emphasis on space perception.