成人依恋背景中图片对安全基模的情感启动

依恋是人类行为的基本现象之一。采用情感启动技术,探讨了不同类型图片对安全基模中积极情感成分的激活作用,并考察了启动过程中成人依恋的不同类型可能存在的调和作用。结果表明：(1)安全基地图片比积极图片、随机几何图形以及空白对积极情感的启动效果更为明显。(2)在阈上、临界和阈下呈现启动图片的不同条件下,相同类型图片对情感的启动效果很稳定。(3)不同类型图片的启动效果不受被试依恋类型的影响。     

A Multi-Occasion Multi-Rater Model of Affective Dispositions and Affective Well-Being

Personality theories assume that affective dispositions have a strong influence on affective experience and well-being, produce cross-situational consistency, and that positive and negative experiences are influenced by separate dispositions. These assumptions were tested using multi-method data. 97 married couples completed self and informant ratings of affective dispositions, a 14-day experience sampling study, and retrospective self and informant ratings of affective experiences (overall and with spouse). Analysis was conducted using a multi-trait-multi-method matrix and structural equation modeling. Main findings were (a) strong effects of affective dispositions on affective experiences with partner and affective well-being, (b) shared method variance among disposition and well-being ratings by the same rater, and (c) moderate to strong negative correlations between dispositions for positive and negative affect.     

Philosophical Pictures

The paper develops a novel account of the nature and genesis of some philosophical problems, which motivates an unfamiliar form of philosophical criticism that was pioneered by the later Wittgenstein. To develop the account, the paper analyses two thematically linked sets of problems, namely problems about linguistic understanding: a set of problems Wittgenstein discusses in a core part of his Philosophical Investigations, and the ‘problem of linguistic creativity’ that is central to current philosophy of language. The paper argues that these problems are generated by tacit and unwarranted presuppositions at odds with warranted beliefs the philosophers raising the problems reflectively hold at the same time. For a rigorous conceptualisation of this phenomenon, the paper develops the notion of a ‘philosophical picture’ first proposed by Wittgenstein, and specifies the particular class of philosophical problems that may be raised due to adherence to such pictures. The results motivate a new form of philosophical criticism: the systematic exposure of relevant philosophical pictures, and efforts to overcome their tacit influence on philosophical reflection.     

Comparative Evaluations

My response to Engelmann (2008) will be based on several questions that will allow both its author and the general reader to determine whether the assumptions I make as an interpreter of this complex paper are congruent or incongruent with their own interpretations of the text. The interpretations by the writer, by any commentator, and the diverse interpretations of a general audience together with my own interpretations will, I hope, facilitate some fruitful ‘comparative evaluations.’ I articulate my inferences of the most dense part of the paper, namely the ‘concrete immediate Consciousness and the developing absent outside.’ My hope is to address Engelmann’s question: “Am I in a better disposition to judge modern theories of consciousness?” The last section of my response spells out more personal comments to my all too brief and single encounter with Arno Engelmann. It is there that Arno Engelmann’s fascinating statement “I am a citizen of the world” is addressed through its counterparts in my life.     

The Power of Pictures: Vertical Picture Angles in Power Pictures

Conventional wisdom suggests that variations in vertical picture angle cause the subject to appear more powerful when depicted from below and less powerful when depicted from above. However, do the media actually use such associations to represent individual differences in power? We argue that the diverse perspectives of evolutionary, social learning, and embodiment theories all suggest that the association between verticality and power is relatively automatic and should, therefore, be visible in the portrayal of powerful and powerless individuals in the media. Four archival studies (with six samples) provide empirical evidence for this hypothesis and indicate that a salience power context reinforces this effect. In addition, two experimental studies confirm these effects for individuals producing media content. We discuss potential implications of this effect.     

Pictures,perspective and possibility

This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.     

Listening to Pictures

A review of Peter Steele’s: The Whispering Gallery: Art into Poetry, in which Steele writes poems on and to paintings and the sculpture Black Sun (By Inge King) in the National Gallery of Victoria, Melbourne, Australia. Each work on which there is a poem is reproduced. In this book Steele writes more to the ‘contour’ of the topic-work than he did in Plenty. His poems – as ever sidenoted – are tensed between the topicality of the work of art in question, and Kant’s aesthetic which involves ‘the free play of the cognitive faculties’. In ths tension lies the particular pleasure of Steele’s poetry.     

Affective atmospheres

In this paper I reflect on the concept of affective atmospheres in the context of the distinction between affect and emotion that has emerged in recent work on emotion, space and society. The concept of atmosphere is interesting because it holds a series of opposites -- presence and absence, materiality and ideality, definite and indefinite, singularity and generality -- in a relation of tension. To develop this account of atmosphere I juxtapose Marx's materialist imagination with a phenomenology attentive to singular affective qualities. By invoking a material imagination based on the movement and lightness of air, we learn from the former about the turbulence of atmospheres and their indeterminate quality. From the latter, we learn that atmospheres are singular affective qualities that emanate from but exceed the assembling of bodies. As such, to attend to affective atmospheres is to learn to be affected by the ambiguities of affect/emotion, by that which is determinate and indeterminate, present and absent, singular and vague.     

Speaking to Pictures

A review of Peter Steele’s Plenty, a book in which each poem is faced by a colour plate of the painting or object which sparked it off. Hollander’s ecphrasis and Krieger’s ekphrasis are held in – possibly unresolvable – dialectic by Steele’s poems. The only resolution which one can find is one of wit rather than of philosophy.

Student Evaluations and Moral Hazard

Most universities solicit feedback from students at the end of a course in order to assess student perceptions of the course. This feedback is used for various objectives, including for evaluating teaching by academic administrators. One would therefore expect faculty to rationally take this into account while formulating their teaching strategy. In certain cases, such strategic considerations can give rise to moral hazard. I have modelled the situation using the well-known Prisoners Dilemma game and found that in equilibrium, the teaching style will be examination-centric, while considerations of societal good would demand that the teaching style be knowledge-centric. I also discuss the policy implications for this finding.