Depictions of motion devised by a blind person

A blind man (E.A.) was asked to draw pictures suggesting wheels in various kinds of motion. Six pictures were drawn by E.A. The pictures were shown to sighted subjects, who were asked to assign labels to the pictures, in a multiple-choice format. The labels were assigned at a rate above chance. We argue that the pictures are metaphoric and that pictorial metaphor relies on common properties of the static picture and the kinetic referent.     

Aftereffect of inspection of a perspectival stimulus for slant depth: A new normalization effect

The Ss made judgments of the frontoparallel plane monocularly and binocularly by adjusting the position of a rotatable thin luminous line viewed in darkness. The judgments were made before and after a 10-min period of monocular inspection of a luminous outline frontoparallel trapezoid which was the projection of a rectangle rotated in depth. Verbal reports indicated normalization of perspectival slant depth, i.e., the inspection figure appeared less rotated, and the line settings exhibited an aftereffect bf normalization. These findings may contribute toward an account of certain previously unexplained observations reported in an earlier study by Epstein and Morgan-Paap (1974) dealing with adaptation to uniocular image magnification.     

Relative distance of lights: An extension of Bugelski’s findings

Three lights in various orientations were presented to two trained Ss. The Ss adjusted the three lights until they appeared equidistant. The results supported earlier work of a similar nature, in that the higher light was perceived as closer and horizontal separation between lights produced no significant differences in depth settings. The phenomenon was shown to occur with monocular vision, fixated vision, large angular separation of the stimuli, and with different directions of regard with respect to the fixation point. The relationship to other research is discussed.     

A note on a sufficiency condition for uniqueness of a restricted factor matrix

A counterexample is produced to a conjecture by K. G. Jöreskog concerning sufficiency conditions for uniqueness of a restricted factor matrix. A substitute condition is stated and proved for the most common situation where the restricted elements are specified to be zero.     

Male-female differences in sexual fantasy

A questionnaire about thoughts and ideas during sexual activity was returned by 51 females and 50 males in a random sample of college undergraduates. A high response rate (91%) and the similar sexual experience of male and female respondents make possible a strong conclusion about the college population sampled: Males are thinking more about past experiences and current behavior, while females are thinking more of imaginary experiences. This difference occurs for thoughts during masturbation as well as for thoughts during heterosexual activity. It appears that females prefer a different kind of sexual fantasy than males, rather than being generally less interested in sexual fantasy as claimed by Kinsey, Pomeroy, Martin, and Gebhart (Sexual behavior in the human female, Philadelphia: Saunders, 1953).     

Model complexity: The fit to random data reconsidered

A recent controversy in the field of depth perception has highlighted an important aspect of model testing concerning a model's complexity, defined as the prior propensity of the model to fit arbitrary data sets. The present article introduces an index of complexity, called the mean minimum distance, defined as the average squared distance between an arbitrary data point and the prediction range of the model. It may also be expressed as a dimensionless quantity called the scaled mean minimum distance. For linear models, theoretical values for the scaled mean minimum distance and the variance of the scaled minimum distance can be readily obtained and compared against empirical estimates obtained from fits to random data. The approach is applied to resolving the question of the relative complexity of the Linear Integration model and the Fuzzy Logic of Perception model, both of which have been the subject of controversy in the field of depth perception. It is concluded that the two models are equally complex. Received: 10 October 1998 / Accepted: 22 December 1998     

Partiality and Its Dual

This paper explores allowing truth value assignments to be undetermined or "partial" (no truth values) and overdetermined or "inconsistent" (both truth values), thus returning to an investigation of the four-valued semantics that I initiated in the sixties. I examine some natural consequence relations and show how they are related to existing logics, including ukasiewicz's three-valued logic, Kleene's three-valued logic, Anderson and Belnap's (first-degree) relevant entailments, Priest's "Logic of Paradox", and the first-degree fragment of the Dunn-McCall system "R-mingle". None of these systems have nested implications, and I investigate twelve natural extensions containing nested implications, all of which can be viewed as coming from natural variations on Kripke's semantics for intuitionistic logic. Many of these logics exist antecedently in the literature, in particular Nelson's "constructible falsity".     

Quantifying genre: an operational definition of tragedy and comedy based on Shakespeare's plays

Emotion and imagery in the words of Shakespeare's plays, as measured by the Dictionary of Affect in Language, were used to predict genre (tragedy or comedy). Genre distinctions, which were associated with small effect sizes, were established on the basis of 23 plays and then applied to other plays. A discriminant function which combined lower emotional Pleasantness with higher emotional Activation or arousal and more pictorial Imagery successfully (91% of the time) predicted whether a play was a tragedy or a comedy. The genre-discriminating formula provided meaningful categorizations of 23 additional plays. As hypothesized, comedies employed more Pleasant words than tragedies. Tragedies employed more Active words (p < .001). Unexpectedly, comedies rather than tragedies employed words with lower Imagery (greater Abstraction). The predicted elevation of language in tragedy was noted instead in the use of more verse, fewer common words, and fewer personal pronouns (less subjectivity).