Infants’ recognition of objects using canonical color

We explored infants’ ability to recognize the canonical colors of daily objects, including two color-specific objects (human face and fruit) and a non-color-specific object (flower), by using a preferential looking technique. A total of 58 infants between 5 and 8 months of age were tested with a stimulus composed of two color pictures of an object placed side by side: a correctly colored picture (e.g., red strawberry) and an inappropriately colored picture (e.g., green-blue strawberry). The results showed that, overall, the 6- to 8-month-olds showed preference for the correctly colored pictures for color-specific objects, whereas they did not show preference for the correctly colored pictures for the non-color-specific object. The 5-month-olds showed no significant preference for the correctly colored pictures for all object conditions. These findings imply that the recognition of canonical color for objects emerges at 6 months of age.     

IN DEFENCE OF FICTIONAL INCOMPETENCE

The claim that photographs are fictionally incompetent (i.e. that they can only depict those particulars they are appropriately causally related to) is argued by Noël Carroll, Gregory Currie, and Nigel Warburton to be falsified by cinematic works of fiction. In response I firstly argue that it does not follow from cinema's having a capacity for the representation of ficta that photography has a capacity for the representation of ficta. Secondly, and inspired by the work of Roger Scruton, I develop an account of how it is that cinema represents ficta on which this is fundamentally a matter of dramatic/theatrical representation. I argue that in cinematic fiction photography delivers a pre‐existent representation of ficta rather than creating or generating fictional content. With this being so, the claim that photography is fictionally incompetent is compatible with cinematic fiction. 1     

Specificity in autobiographical memory narratives correlates with performance on the Autobiographical Memory Test and prospectively predicts depressive symptoms

Reduced autobiographical memory specificity (AMS) is an important cognitive marker in depression that is typically measured with the Autobiographical Memory Test (AMT; Williams & Broadbent, 1986). The AMT is widely used, but the over-reliance on a single methodology for assessing AMS is a limitation in the field. The current study investigated memory narratives as an alternative measure of AMS in an undergraduate student sample selected for being high or low on a measure of depressive symptoms (N=55). We employed a multi-method design to compare narrative- and AMT-based measures of AMS. Participants generated personally significant self-defining memory narratives, and also completed two versions of the AMT (with and without instructions to retrieve specific memories). Greater AMS in self-defining memory narratives correlated with greater AMS in performance on both versions of the AMT in the full sample, and the patterns of relationships between the different AMS measures were generally similar in low and high dysphoric participants. Furthermore, AMS in self-defining memory narratives was prospectively associated with depressive symptom levels. Specifically, greater AMS in self-defining memory narratives predicted fewer depressive symptoms at a 10-week follow-up over and above baseline symptom levels. Implications for future research and clinical applications are discussed.     

Building the Better Mental Training Mousetrap: Is Periodization a More Systematic Approach to Promoting Performance Excellence?

Over the past two decades, mental skills training (MST) has experienced a tremendous surge in popularity, yet MST is not without its critics, including some athletes and coaches. Additionally, a number of concerns have arisen about mental training effectiveness, and its ability to maximize athlete development, performance, and peaking. Periodization is a systematic program development and implementation strategy that holds promise for enhancing mental training effectiveness and combating some of the problems currently limiting MST interventions. Thus, the purpose of this conceptual paper was threefold. First, periodization concepts are introduced by demonstrating how they are utilized to systematically guide physical training. Second, strategies to adapt periodization concepts to enhance mental training programs are examined, along with techniques to integrate physical and mental training, including: mental training tool and skill periodization plans and mental training drill menus. Finally, a case study is presented to illustrate how an integrated approach to periodized training that targets both physical and mental skill development can enhance the effectiveness of MST while minimizing implementation problems.     

Empathy,Embodiment and Interpersonal Understanding: From Lipps to Schutz

When it comes to understanding the nature of social cognition, we have—according to the standard view—a choice between the simulation theory, the theory-theory or some hybrid between the two. The aim of this paper is to argue that there are, in fact, other options available, and that one such option has been articulated by various thinkers belonging to the phenomenological tradition. More specifically, the paper will contrast Lipps' account of empathy—an account that has recently undergone something of a revival in the hands of contemporary simulationists—with various accounts of empathy found in the phenomenological tradition. I discuss the way Lipps was criticized by Scheler, Stein and Husserl, and outline some of the core features of their, at times divergent, alternatives. I then proceed by considering how their basic take on empathy and social cognition was taken up and modified by Schutz—a thinker whose contribution to the analysis of interpersonal understanding has been unjustly neglected in recent years.     

Finding Creativity in an Artificial Artist

Creativity is an important component of human intelligence, and imbuing artificially intelligent systems with creativity is an interesting challenge. In particular, it is difficult to quantify (or even qualify) creativity. Recently, it has been suggested that conditions for attributing creativity to a system include: appreciation, imagination, and skill. We demonstrate and describe an original computer system (called DARCI) that is designed to produce images through creative means. We present methods for evaluating DARCI and other artificially creative systems with respect to appreciation, imagination, and skill, and use these methods to show that DARCI is arguably a creative system.