When two limbs are weaker than one: Sensorimotor syncopation with alternating hands

This study addresses the demands of alternating bimanual syncopation, a coordination mode in which the two hands move in alternation while tapping in antiphase with a metronomic tone sequence. Musically trained participants were required to engage in alternating bimanual syncopation and five other coordination modes: unimanual syncopation where taps are made (with the left or right hand) after every tone; unimanual syncopation where taps are made after every other tone; bimanual synchronization with alternating hands; unimanual synchronized tapping with every tone; and unimanual tapping with every other tone. Variability in tap timing was greatest overall for alternating bimanual syncopation, indicating that it is the most difficult. This appears to be due to instability arising from the simultaneous presence of two levels of antiphase coordination (one between the pacing sequence and the hands, the other between the two hands) rather than factors relating to movement frequency or dexterity limits of the nonpreferred hand.     

The Creativity Matrix: Spotlights and Blind Spots in Our Understanding of the Phenomenon

In this paper, we organize past and present theories and models of creativity by using a new conceptual framework—the creativity matrix—with the aim of highlighting the dimensions of creativity we know a lot about and those we tend to either ignore or find difficult to study. This matrix is formed by bringing together a developmental model of creativity (the 4 C's) and a structural one (the 5 A's). We start by briefly describing these two conceptual frameworks, and then, we proceed to exploring the matrix itself by describing how the 5 A's are dynamically organized at each “level” of the 4 C's. Importantly, our overview of the matrix is informed by existing models and concepts that address one of more of the C's and the A's. This gives us a unique opportunity to take stock of what has been studied so far and, toward the end, consider new avenues for the development of theory and research agendas within creativity studies.     

ILLUSTRATING FEMINIST THEORY

Feminist theory holds that many of the pathological behaviors observed in patients result from their position in the social hierarchy. The goals of the demonstration detailed in this article are to show the impact of current gender roles on the psychological well-being of women and men and to generate understanding and discussion of the problems that relative status can create in the therapeutic relationship. This teaching demonstration draws parallels between the Zimbardo (1971) prison experiment and the impact that assignment to low-and high-power roles can have on the psychological health of women and men. Students are asked to rate men and women on some of the diagnostic criteria that the Diagnostic and Statistical Manual of Mental Disorders (American Psychiatric Association, 1994) associates with Axis I and II diagnoses. The students watch a video of Zimbardo's prison study and then rate the prisoners and guards. This demonstration provides another explanation for gender patterns in psychopathology by demonstrating that psychologically healthy White males will develop different patterns of psychopathology depending on whether they are placed in a dominant or subordinate role. When placed in the subordinate role, they exhibit behaviors typically seen in women clients; when placed in a dominant role they exhibit behaviors commonly associated with male clients. This exercise demonstrates the unhealthy nature of the gender roles for both women and men.