Cultural meanings of nature: an analysis of contemporary motion pictures

To evaluate current cultural meanings of nature, the authors asked 65 undergraduate students to "list 3 movies in which nature was an important aspect of the film." They also were asked to specify the natural element that stood out to them and describe "how it related to the overall theme of the movie." Two independent groups of raters skilled in interpretive analysis developed thematic meanings from these responses. Following this, in a 2nd study, a different group of participants rated the 18 most frequently mentioned natural elements on thematic scales derived from the initial interpretive analysis. Participants in the 1st study mentioned 33 different movies at least twice and 5 themes that captured the meaning of nature in these films. Correlational results derived from the 2nd study indicated that rating scales reflecting these 5 themes formed 2 distinct groups; the first group described settings in which nature is experienced as adversarial and plays a significant role in dramatic action, and the second group defined settings in which nature is viewed either as a place of refuge or simply as a locale in which ongoing narrative action occurs. The general conclusion reached in both studies concerns the often noted but not always appreciated fact that movies--similar to everyday events and actions--always take place in specific settings and that neither life events nor dramatic narratives can be understood apart from specific settings.     

Incremental validity and the assessment of psychopathology in adults

Results from studies on incremental validity are described for (a) interviews, (b) personality inventories, (c) projective techniques, and (d) brief self-rated and clinician-rated measures. In some of the studies (clinical judgment studies), psychologists were given increasing amounts of information. In other studies (statistical prediction studies), increasing amounts of assessment information were entered into a statistical prediction rule. Although relatively little research has been conducted on incremental validity, results that have been obtained tend to favor the use of interviews, personality inventories (e.g., the Minnesota Multiphasic Personality Inventory--2; J. N. Butcher, W. G. Dahlstrom, J. R., Graham, A. Tellegen, & B. Kaemmer, 1989), and brief self-rated measures (e.g., the Anxiety Sensitivity Index, S. Reiss, R. A. Peterson, D. M. Gursky, & R. M. McNally, 1986). Results are generally less encouraging for projective techniques.     

Severe psychosis and the adrenal androgens.

Past literature suggests a link between certain psychotic states and adrenal androgen production, including Dehydroepiandrosterone (DHEA). A group of severely psychotic androgenized females, refractory to substantial amounts of neuroleptics, has been identified for whom endocrine testing revealed abnormally high levels of DHEA. A similar group has been identified among the severely psychotic male population. Improvement in psychosis appears to occur as DHEA returns to its normal range using standard low dose Dexamethasone suppression.     

Circular vection as a function of the relative sizes, distances, and positions of two competing visual displays

In studies where it is reported that illusory self-rotation (circular vection) is induced more by peripheral displays than by central displays, eccentricity may have been confounded with perceived relative distance and area. Experiments are reported in which the direction and magnitude of vection induced by a central display in the presence of a surround display were measured. The displays varied in relative distance and area and were presented in isolation, with one moving and one stationary display, or with both moving in opposite directions. A more distant display had more influence over vection than a near display. A central display induced vection if seen in isolation or through a 'window' in a stationary surrounding display. Motion of a more distant central display weakened vection induced by a nearer surrounding display moving the other way. When the two displays had the same area their effects almost cancelled. A moving central display nearer than a textured stationary surround produced vection in the same direction as the moving stimulus. This phenomenon is termed 'contrast-motion vecton' because it is probably due to illusory motion of the surround induced by motion of the centre. Unequivocal statements about the dominance of an eccentric display over a central display cannot be made without considering the relative distances and sizes of the displays and the motion contrast between them.     

Induced motion: isolation and dissociation of egocentric and vection-entrained components.

Induced motion (IM) is illusory motion of a stationary test target opposite to the direction of the real motion of the inducing stimulus. We define egocentric IM as an apparent motion of the test target relative to the observer, and vection-entrained IM as an apparent motion of a stationary object along with an apparent motion of the self (vection) induced by the same stimulus. These two forms of IM are often confounded, and tests for distinguishing between them have not been devised. We have devised such tests. Our test for egocentric IM relies on evidence that this form of IM is due mainly to a misregistration of eye movements when optokinetic nystagmus (OKN) is inhibited, and on evidence that OKN is evoked only by stimuli in the plane of convergence. Our test for vection-entrained IM relies on evidence that vection is evoked only by the more distant of two superimposed inducing stimuli. Thus we found egocentric IM to be induced without vection or vection-entrained IM when subjects converged on a foreground moving display with a stationary display in the background, and vection-entrained IM to be induced without egocentric IM when subjects converged on a stationary-foreground display with a moving display in the background. The two types of IM were evoked in opposite directions at the same time when subjects converged on a foreground moving display while a background display moved in the opposite direction. The two forms of IM showed no signs of interaction, and we conclude that they rely on independent motion mechanisms that operate within distinct frames of reference. A control experiment suggested that the depth adjacency effect in IM is determined by the depth adjacency of the inducing stimulus to convergence, not just to the test target.     

Serial pattern learning by event observation.

Serial pattern learning was investigated in a variation of the task introduced by Nissen and Bullemer (1987). We presented an asterisk at 1 of 4 spatial locations on each trial, and Ss either responded with a keypress or observed the event. The first 4 blocks contained 10 repetitions of a 10- or 16-element pattern, and the 5th block contained a random sequence. The difference in response time on the 5th random block and the previous patterned block served as an indirect measure of pattern learning. A direct measure was obtained in a final test block in which Ss predicted the next asterisk position. Equivalent learning occurred for responding and observing with indirect measures, but observation was superior with direct measures. These findings indicate that knowledge of serial order can develop through simple perceptual experience, and this is more available to deliberate recall than is knowledge acquired while responding.