Blinded by headlights.

Target identification is impaired when targets are presented during the planning or execution of a compatible response (e.g., right-pointing arrow during a right keypress) relative to an incompatible response (Müsseler & Hommel, 1997 a, b). Examinations of this blindness to response-compatible stimuli have typically used arrowheads as targets ("<" and ">"). The importance of the target symbol was examined by manipulating subjects' interpretation of that symbol (i.e., ">" interpreted as a right-pointing arrow or as a headlight shining to the left). Targets were presented at varying times during the planning or execution of a response in order to examine the time-course of the effect. Results showed that the interpretation, and not the physical identity, of the target was important for the blindness effect. Although the blindness effect was largest during the planning and execution of a response, it was not always confined to that temporal interval.     

The Literary Work of Art. Translated with an introduction by George G. Grabowicz,Foreword by David M. Levin.

The introduction of computers into the process of musical composition markedly disturbs the relationships which normally obtain between composer, work, performances, and sound complexes. This shift gives rise to a number of philosophical problems with far-reaching consequences, which this paper discusses. The conclusion is that the use of computers in composition exposes a crisis facing the notion of a work of music, whose outcome cannot yet be foreseen. In its subject matter, the paper takes up issues raised by Roman Ingarden's phenomenological ontology of art works. The use of example and counterexample to probe the boundaries of the notion of a work of music on the other hand owes more to Husserl's method of eidetic variation.