The role of visual information in the processing of

Visual information provided by a talker’s mouth movements can influence the perception of certain speech features. Thus, the “McGurk effect” shows that when the syllable /bi/ is presented audibly, in synchrony with the syllable /gi/, as it is presented visually, a person perceives the talker as saying /di/. Moreover, studies have shown that interactions occur between place and voicing features in phonetic perception, when information is presented audibly. In our first experiment, we asked whether feature interactions occur when place information is specified by a combination of auditory and visual information. Members of an auditory continuum ranging from /ibi/ to /ipi/ were paired with a video display of a talker saying /igi/. The auditory tokens were heard as ranging from /ibi/ to /ipi/, but the auditory-visual tokens were perceived as ranging from /idi/ to /iti/. The results demonstrated that the voicing boundary for the auditory-visual tokens was located at a significantly longer VOT value than the voicing boundary for the auditory continuum presented without the visual information. These results demonstrate that place-voice interactions are not limited to situations in which place information is specified audibly. In three follow-up experiments, we show that (1) the voicing boundary is not shifted in the absence of a change in the global percept, even when discrepant auditory-visual information is presented; (2) the number of response alternatives provided for the subjects does not affect the categorization or the VOT boundary of the auditory-visual stimuli; and (3) the original effect of a VOT boundary shift is not replicated when subjects are forced by instruction to \ldrelabel\rd the /b-p/auditory stimuli as/d/or/t/. The subjects successfully relabeled the stimuli, but no shift in the VOT boundary was observed.     

Reciprocal unconditional-conditional organization of the fundamental emotions and paraadaptive personality reactions

Paraadaptive personality reactions (PPR) are modes of behavior and experience on the borderline of normal psychology and psychopathology. In them the thinking is overdetermined or obsessive. Overdetermined PPR are well illustrated in common proverbs. The people’s wisdom has also knowledge of the obsessive (or “magic”) paraadaptive rituals for prevention of possible misfortunes (such as touching wood, keeping away from a black cat,etc.). One part of the PPR is described in the psychoanalytical literature as defense mechanisms. The analysis of thought dissociation in schizophrenia shows that the reciprocal relations could be considered as a basic principle of functional organization on all levels of nervous and psychic activity. Proceeding from this assumption, the author proposes the conception of a reciprocal neuropsychological unconditional-conditional affect-behavioral system (ABS). It consists of ten subsystems corresponding to the basic emotions. Each subsystem stimulates the personality toward predetermined forms of thinking and behavior. In adequate conditions the reciprocal processes in the ABS are well counterweighted and integrated. In some persons and in situations of greater affective “loading” this reciprocal balance is disorganized, which leads to PPR. In this paper a neuropsychological analysis is made of the overdetermined PPR, reflected in such proverbs as “Not being able to beat the donkey, he beats the packsaddle” and “The thief cries catch the thief.”     

Visual control of movement patterns and the grammar of action

In this experiment adult subjects copied three types of material (letters, reversed letters and geometric shapes) with and without sight of the hand and the writing trace. Without vision the number of movement segments decreased and the sequence and direction of movements were altered. This means that subjects did not use a fixed stored representation to produce items nor did they obey the rules of Goodnow and Levine's (1973) grammar of action. When spatial location is made more difficult by the removal of vision, movement production is simplified to reduce the number of relocations required. The use of consistent directions of movement depends on the ability to use visual control of spatial location.     

Helping through touch: The embodiment of caring

There is a power to touch, and a magic. Some call it mystery. The purpose of this paper is to reflect on the various meanings and uses of touch, particularly within the context of relationship and helping. There will be no attempt to formulate a protocol for touch or to lay claim to a definitive meaning for touch. Reflection about touch may instead clarify some of its meanings and dynamics while encouraging care providers to embrace the experience of helping-through-touch. This paper supports a considered use of empathie touch because of its power and its ability to embody care.     

Occupational choices of daughters of practicing rabbis

This paper examines the psychological impact that rabbis, as character types, have on their daughters. It describes how the father's impact psychologically predisposes these women to enter the helping professions in disporportionate numbers, and it shows how these job choices are often a means of coping with psychological issues connected to their upbringing.She is a candidate to become a psychoanalyst at the Chicago Center for Psychoanalytic Psychology.     

The final portrait of Christ

Artistic presentations of Jesus are as numerous and varied as the artists who created them. Whether on canvas or in music, Jesus has been portrayed as a redeemer, revolutionary, teacher, and clown. While some people are inspired by a particular presentation of Jesus, others are angered and incensed at what they perceive to be blasphemous. An example of the latter is Martin Scorsese's film, The Last Temptation of Christ. This article examines why people responded so negatively to this and other artistic presentations of Jesus. It suggests they have failed to recognize how the portrayal reflects a personal experience of the artist and is not meant to be a final portrait of Christ. And on a more unconscious level, these works of art evoke feelings within people which they fear to acknowledge and which they escape by condemning the work.