Program Extraction from Normalization Proofs

This paper describes formalizations of Tait's normalization proof for the simply typed λ-calculus in the proof assistants Minlog, Coq and Isabelle/HOL. From the formal proofs programs are machine-extracted that implement variants of the well-known normalization-by-evaluation algorithm. The case study is used to test and compare the program extraction machineries of the three proof assistants in a non-trivial setting.     

Quantum Paradoxes, Time, and Derivation of Thermodynamic Law: Opportunities from Change of Energy Paradigm

Summary  Well known quantum and time paradoxes, and the difficulty to derive the second law of thermodynamics, are proposed to be the result of our historically grown paradigm for energy: it is just there, the capacity to do work, not directly related to change. When the asymmetric nature of energy is considered, as well as the involvement of energy turnover in any change, so that energy can be understood as fundamentally “dynamic”, and time-oriented (new paradigm), these paradoxes and problems dissolve. The most basic consequence concerns the particle-wave dualism. For a reversible inter-conversion of a particle into a wave, subject to a dynamic energy, a self-image of information has to be generated: quantum theory has to be complemented by a theory of information. Then, quantum processes can be derived from classical ones and the second law of thermodynamics with the tendency of increasing entropy follows in a straightforward way.     

The effects of visual context and individual differences on perception and evaluation of modern art and graffiti art

Traditionally, artworks are seen as autonomous objects that stand (or should stand) on their own. However, at least since the emergence of Conceptual Art in the 1920s and Pop Art in the 1960s, art lacks any distinctive perceptual features that define it as such. Art, therefore, cannot be defined without reference to its context. Some studies have shown that context affects the evaluation of artworks, and that specific contexts (street for graffiti art, museum for modern art) elicit specific effects (Gartus & Leder, 2014). However, it is yet unclear how context changes perception and appreciation processes. In our study we measured eye-movements while participants (64 psychology undergraduates, 48% women) perceived and evaluated beauty, interest, emotional valence, as well as perceived style for modern art and graffiti art embedded into either museum or street contexts. For modern art, beauty and interest ratings were higher in a museum than in a street context, but context made no difference for the ratings of graffiti art. Importantly, we also found an interaction of context and individual interest in graffiti for beauty and interest ratings, as well as for number of fixations. Analyses of eye-movements also revealed that viewing times were in general significantly longer in museum than in street contexts. We conclude that context can have an important influence on aesthetic appreciation. However, some effects depend also on the style of the artworks and the individual art interests of the viewers.     

In the white cube: Museum context enhances the valuation and memory of art

Art museum attendance is rising steadily, unchallenged by online alternatives. However, the psychological value of the real museum experience remains unclear because the experience of art in the museum and other contexts has not been compared. Here we examined the appreciation and memory of an art exhibition when viewed in a museum or as a computer simulated version in the laboratory. In line with the postulates of situated cognition, we show that the experience of art relies on organizing resources present in the environment. Specifically, artworks were found more arousing, positive, interesting and liked more in the museum than in the laboratory. Moreover, participants who saw the exhibition in the museum later recalled more artworks and used spatial layout cues for retrieval. Thus, encountering real art in the museum enhances cognitive and affective processes involved in the appreciation of art and enriches information encoded in long-term memory.     

Boundaries of American Identity: Relations Between Ethnic Group Prototypicality and Policy Attitudes

We sought to document that the extent to which different ethnic groups are perceived as embodying the American identity is more strongly linked to antiminority policy attitudes and acculturation ideologies among majority‐group members (European Americans) than among minority‐group members (Asian Americans or Latino/as). Participants rated 13 attributes of the American identity as they pertain to different ethnic groups and reported their endorsement of policy attitudes and acculturation ideologies. We found a relative consensus across ethnic groups regarding defining components of the American identity. However, European Americans were perceived as more prototypical of this American identity than ethnic minorities, especially by European American raters. Moreover, for European Americans but not for ethnic minorities, relative ingroup prototypicality was related to antiminority policy attitudes and acculturation ideologies. These findings suggest that for European Americans, perceptions of ethnic group prototypicality fulfill an instrumental function linked to preserving their group interests and limiting the rights afforded to ethnic minorities.     

Von der Erkenntnis des Sch?nen in der Kunst

Ohne Zusammenfassung     

Emotional valence modulates the preference for curved objects

Previous studies have shown that people prefer objects with curved contours over objects with sharp contours. However, those studies used stimuli that were mainly neutral in emotional valence. We tested here the interplay between visual features and general valence as positive or negative. After replicating curvature preferences for neutral objects, we used positive (cake, chocolate) and negative (snake, bomb) stimuli to examine if emotional valence-through response prioritisation-modulates the preference for curved objects. We found that people indeed preferred the curved versions of objects to the sharp versions of the same objects, but only if the objects were neutral or positive in emotional valence. There were no difference in liking for objects with negative emotional valence. This is evidence that the aesthetic response is adaptive, in this case prioritising valence over contour as demanded by the general semantic classification.