Our teacher likes you,so I like you: A social network approach to social referencing

A teacher is a social referent for peer liking and disliking when students adjust their evaluations of a peer based on their perceptions of teacher liking and disliking for this peer. The present study investigated social referencing as an intra-individual process that occurs over time, using stochastic actor-oriented modeling with RSiena. The co-evolution of peer-perceived teacher liking and disliking networks with peer liking and disliking networks was analyzed in 52 fifth-grade classes in the Netherlands, with 1370 students (M_age = 10.60). Results showed that when a student viewed the teacher to like a peer, this student would also like this peer. Regarding disliking, there was a stronger effect in the opposite direction, indicating that students' disliking a peer increased the likelihood that they would view the peer as disliked by the teacher as well. In sum, partial evidence for social referencing as an intra-individual process was found. For teachers this implies that the cues they provide regarding their liking of a student, and not necessarily their disliking, may affect individual peers' liking of this student.     

I like you,I like you not: Understanding the formation of context-dependent automatic attitudes

Previous research has shown that automatic evaluations can be highly context dependent. Expanding on past research demonstrating context effects for existing attitudes toward familiar objects, the present research examined basic principles that guide the formation of context-dependent versus context-independent automatic attitudes. Results from four experiments showed that: (a) newly formed attitudes generalised to novel contexts when prior experiences with the attitude object were evaluatively homogeneous; (b) when prior experiences were evaluatively heterogeneous, automatic evaluations became context sensitive, such that they reflected the contingency between the valence of prior experiences and the context in which these experiences occurred; and (c) when prior experiences were evaluatively heterogeneous across different contexts, novel contexts elicited automatic evaluations that reflected the valence of first experiences with the attitude object. Implications for research on automatic evaluation and attitude change are discussed.     

镜子，影子，背后的里子 镜子是用来照什么? 有时候只是装饰，有时候是用来看别人

在我们的生活环境里,有许多器物作为生活的一部分与人的关系早已经是不可分割了。从最早偶然的灵感演变到现在的形貌,这个过程与人们的生活以及社会文化是密切相关的,器物设计风格的演变与技术发展是也是相辅相成的。从古代达官贵人钟爱的工艺精湛的手工制品到现代社会的物质文明,新材料与工艺的出现,经济条件和生活方式的变化.人们的美学观点和趣味爱好也在跟着改变,器物与设计的关系也越来越紧密了。     

Getting it right: a reply to baum

In this reply to Baum, I emphasize that the failure to understand the processes associated with scientific verbal behavior may result in scientific statements like the generalized matching law that do not accurately reflect cause-and-effect relations.     

Visual recognition: as soon as you know it is there, you know what it is

What is the sequence of processing steps involved in visual object recognition? We varied the exposure duration of natural images and measured subjects' performance on three different tasks, each designed to tap a different candidate component process of object recognition. For each exposure duration, accuracy was lower and reaction time longer on a within-category identification task (e.g., distinguishing pigeons from other birds) than on a perceptual categorization task (e.g., birds vs. cars). However, strikingly, at each exposure duration, subjects performed just as quickly and accurately on the categorization task as they did on a task requiring only object detection: By the time subjects knew an image contained an object at all, they already knew its category. These findings place powerful constraints on theories of object recognition.     

Feeling the burn: When it looks like it hurts,and belongs to me,it really does hurt more

We examined changes in pain sensitivity in the rubber hand illusion (RHI). Experiment 1 investigated changes in pain tolerance immediately after a “healthy” and “wounded” RHI when immersing the hand in a cold pressor ice bath. There was 19% increased pain tolerance and increased perception detection threshold after the healthy RHI, but 11% reduction after the wounded RHI. Experiment 2 examined pain experience during the wounded RHI with capsaicin-induced hyperalgesia. Pain intensity and unpleasantness was higher on the illusion arm during the synchronous RHI, compared with asynchronous trials. There was no change in pain experience on the control arm, and both arms had similar pain sensitivity after the experiment. Our results highlight the impact of embodying a substitute limb on pain, with increased tolerance and reduced tactile sensitivity when the fake limb is healthy and apparently pain-free, but increased pain sensitivity when the self-attributed limb appears to be wounded.     

Now you see it, now you don't: repetition blindness for nonwords

Repetition blindness (RB) for nonwords has been found in some studies, but not in others. The authors propose that the discrepancy in results is fueled by participant strategy; specifically, when rapid serial visual presentation lists are short and participants are explicitly informed that some trials will contain repetitions, participants are able to use partial orthographic information to correctly guess repetitions on repetition trials while avoiding spurious repetition reports on control trials. The authors first replicated V. Coltheart and R. Langdon's (2003) finding of RB for words but repetition advantage for nonwords (Experiment 1). When all participants were encouraged to utilize partial information in a same/different matching task along with an identification task, a repetition advantage was observed for both words and nonwords (Experiment 2). When guessing of repetitions was made detectable by including non-identical but orthographically similar items in the experiments, the repetition advantage disappeared; instead, RB was found for both words and nonwords (Experiments 3 and 4). Finally, when experiments did not contain any identical items, participants almost never reported repetitions, and reliable RB was found for orthographically similar words and nonwords (Experiments 5 and 6).     

What it is like to see: A sensorimotor theory of perceptual experience

The paper proposes a way of bridging the gapbetween physical processes in the brain and the 'felt'aspect of sensory experience. The approach is based onthe idea that experience is not generated by brainprocesses themselves, but rather is constituted by theway these brain processes enable a particular form of'give-and-take' between the perceiver and theenvironment. From this starting-point we are able tocharacterize the phenomenological differences betweenthe different sensory modalities in a more principledway than has been done in the past. We are also ableto approach the issues of visual awareness andconsciousness in a satisfactory way. Finally weconsider a number of testable empirical consequences,one of which is the striking prediction of thephenomenon of 'change blindness'.     

Now you see it, now you don't: feminist training in family therapy

This article describes the state of feminist training in family therapy. Methods of assessment include questionnaires to all programs accredited by COAMFTE in universities and institutes and to leading institutes not accredited; interviews with editors of the Journal of Feminist Family Therapy; interviews with many who pioneered the feminist critique in family therapy; inspection of two major national conferences; and a search of publications. Although most program directors describe their programs as feminist and judge their training to be sufficient, their report contrasts with the perspectives of many of the journal editors and pioneers, with the small amount of training in gender issues at national conferences, and with the small number of publications. The authors offer discussion of the findings and recommendations.     

They call it like they see it: spontaneous naming and attention to shape

Two experiments explore children's spontaneous labeling of novel objects as a method to study early lexical access. The experiments also provide new evidence on children's attention to object shape when labeling objects. In Experiment 1, the spontaneous productions of 21 23- to 28-month-olds (mean 26;28) shown a set of novel, unnamed objects were analyzed both in terms of the specific words said and, via adult judgments, their likely perceptual basis. We found that children's spontaneous names were cued by the perceptual feature of shape. Experiment 2 examines the relation between spontaneous productions, name generalizations in a structured task, and vocabulary development in a group of children between 17 and 24 months of age (mean 21;6). Results indicate that object shape plays an important role in both spontaneous productions and novel noun generalization, but contrary to current hypotheses, children may name objects by shape from the earliest points of productive vocabulary development and this tendency may not be lexically specific.     

Learning to like it: Aesthetic perception of bodies,movements and choreographic structure

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical (ABCDCBA) and asymmetrical (ABCDBCA) sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with “good” continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure.