The mere exposure effect for visual image

Mere exposure effect refers to a phenomenon in which repeated stimuli are evaluated more positively than novel stimuli. We investigated whether this effect occurs for internally generated visual representations (i.e., visual images). In an exposure phase, a 5 × 5 dot array was presented, and a pair of dots corresponding to the neighboring vertices of an invisible polygon was sequentially flashed (in red), creating an invisible polygon. In Experiments 1, 2, and 4, participants visualized and memorized the shapes of invisible polygons based on different sequences of flashed dots, whereas in Experiment 3, participants only memorized positions of these dots. In a subsequent rating phase, participants visualized the shape of the invisible polygon from allocations of numerical characters on its vertices, and then rated their preference for invisible polygons (Experiments 1, 2, and 3). In contrast, in Experiment 4, participants rated the preference for visible polygons. Results showed that the mere exposure effect appeared only when participants visualized the shape of invisible polygons in both the exposure and rating phases (Experiments 1 and 2), suggesting that the mere exposure effect occurred for internalized visual images. This implies that the sensory inputs from repeated stimuli play a minor role in the mere exposure effect. Absence of the mere exposure effect in Experiment 4 suggests that the consistency of processing between exposure and rating phases plays an important role in the mere exposure effect.     

Long-term associative learning predicts verbal short-term memory performance

Studies using tests such as digit span and nonword repetition have implicated short-term memory across a range of developmental domains. Such tests ostensibly assess specialized processes for the short-term manipulation and maintenance of information that are often argued to enable long-term learning. However, there is considerable evidence for an influence of long-term linguistic learning on performance in short-term memory tasks that brings into question the role of a specialized short-term memory system separate from long-term knowledge. Using natural language corpora, we show experimentally and computationally that performance on three widely used measures of short-term memory (digit span, nonword repetition, and sentence recall) can be predicted from simple associative learning operating on the linguistic environment to which a typical child may have been exposed. The findings support the broad view that short-term verbal memory performance reflects the application of long-term language knowledge to the experimental setting.     

Does neighborhood size really cause the word length effect?

In short-term serial recall, it is well-known that short words are remembered better than long words. This word length effect has been the cornerstone of the working memory model and a benchmark effect that all models of immediate memory should account for. Currently, there is no consensus as to what determines the word length effect. Jalbert and colleagues (Jalbert, Neath, Bireta, & Surprenant, 2011a; Jalbert, Neath, & Surprenant, 2011b) suggested that neighborhood size is one causal factor. In six experiments we systematically examined their suggestion. In Experiment 1, with an immediate serial recall task, multiple word lengths, and a large pool of words controlled for neighborhood size, the typical word length effect was present. In Experiments 2 and 3, with an order reconstruction task and words with either many or few neighbors, we observed the typical word length effect. In Experiment 4 we tested the hypothesis that the previous abolition of the word length effect when neighborhood size was controlled was due to a confounded factor: frequency of orthographic structure. As predicted, we reversed the word length effect when using short words with less frequent orthographic structures than the long words, as was done in both of Jalbert et al.’s studies. In Experiments 5 and 6, we again observed the typical word length effect, even if we controlled for neighborhood size and frequency of orthographic structure. Overall, the results were not consistent with the predictions of Jalbert et al. and clearly showed a large and reliable word length effect after controlling for neighborhood size.     

Does practice in category learning increase rule use or exemplar use—or both?

Categorization research has demonstrated the use of both rules and remembered exemplars in classification, although there is disagreement over whether learners shift from one to the other or use both strategies simultaneously. Theoretical arguments can motivate predictions for both rule use and exemplar use increasing with more practice. We describe a single large experiment (n = 190) that manipulated the number of training items (category size), the number of presentations of each training item, and the similarity between the training and the transfer stimuli in order to discover when rules and exemplars are most likely to be used. Results showed that rules and exemplars both influenced classification and that exemplars were used more often with smaller categories, with more training on items, and when test items were similar to training items. There was no consistent evidence of a shift from rule-based to exemplar-based categorization with more learning. Importantly, we found a number of conditions in which rules and exemplars were both used, even within individual participants. We discuss our results in terms of hybrid models of classification.     

Pinocchio against the Semantic Hierarchies

The Liar paradox is an obstacle to a theory of truth, but a Liar sentence need not contain a semantic predicate. The Pinocchio paradox, devised by Veronique Eldridge-Smith, was the first published paradox to show this. Pinocchio’s nose grows if, and only if, what Pinocchio is saying is untrue (the Pinocchio principle). What happens if Pinocchio says that his nose is growing? Eldridge-Smith and Eldridge-Smith (Analysis, 70(2): 212-5, 2010) posed the Pinocchio paradox against the Tarskian-Kripkean solutions to the Liar paradox that use language hierarchies. Eldridge-Smith (Analysis, 71(2): 306-8, 2011) also set the Pinocchio paradox against semantic dialetheic solutions to the Liar. Beall (2011) argued the Pinocchio story was just an impossible story. Eldridge-Smith (Analysis, 72(3): 749-752, 2012b) responded that unless the T-schema is a necessary truth of some sort (logical, metaphysical or analytic), the Pinocchio principle is possible. Luna (Mind & Matter 14(1): 77–86, 2016) argues that the Pinocchio contradiction proves the principle is false. D’Agostini & Ficara (2016) discuss a more plausible physical truth-tracking trait, the Blushing Liar, and argue that the Pinocchio contradiction is not a metaphysical dialetheia. I respond to Luna, and D’Agostini & Ficara, and prove that the Pinocchio paradox is a counterexample to hierarchical solutions to the Liar.     

Patient Moral Relativism in the <Emphasis Type="Italic">Zhuangzi</Emphasis>

Moral relativism familiar in the Western philosophical tradition, according to David Lyons, is either agent relativism (moral judgments are relative to the standards of the agent or the agent group) or appraiser relativism (moral judgments are relative to the standards of the appraiser(s) or appraiser group(s)). As Lyons has convincingly argued, they are both problematic. However, in the ancient Chinese Daoist classic, the Zhuangzi, we can find a different type of moral relativism, which I call patient relativism (moral judgments are relative to the patients’ standards). In the essay, I aim to argue in what sense Zhuangzi is a patient relativist and how patient relativism can avoid the problem of agent relativism and appraiser relativism.     

The Recognition of Emotions in Music and Landscapes: Extending Contour Theory

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties (i.e., its contour) and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory.     

Passionate reasoning as emotional understanding: pragmatism and using emotions in inquiry

Pragmatists have been eager to employ the method of science in philosophy, which meant, too, that they paid a great deal of attention to the attitudes that regulate the process of scientific or systematic inquiry. At the same time, they, at least in the nonstandard theories of emotion to be found in Charles Sanders Peirce and John Dewey, espoused a cognitivist view of emotion, which resonates with some of the concerns that have been at the forefront of the contemporary philosophy of emotion (COPE). In particular, they converge upon the view that something like ‘emotional understanding’ is very important. While COPE, especially in the case of Julien Deonna’s and Fabrice Teroni’s ‘attitudinal theory of emotion’ which has some pragmatist affinities, is focused on showing how emotional understanding is central to moral agency, it is my aim in this paper to offer a pragmatist account of emotional understanding as ‘passionate reasoning’ that goes one step further. By highlighting the way in which emotions ought to be interpreted even in the context of scientific or systematic inquiries it makes a case for moralizing science from within, i.e. without submitting it to values that are alien to inquiry. In particular, passionate reasoning helps addressing three problems of inquiry: the problem of the lack of context, the problem of the problem wrongly put, and the problem of (not/just) my problem.     

On Doubt

Despite the prominence of doubt in philosophy since Descartes, the published philosophical literature includes no extended treatment of the nature of doubt. In this paper, I summarize the main contributions that have been made to the subject and then develop a commonsense functionalist account of doubt by specifying (a significant part of) the functional role of doubt that something is the case. After adding two further wrinkles, I show how the resulting account can be used to address the questions of how doubt is related to belief and whether suspension of judgment can be identified with (some appropriate level or levels of) doubt. Although the account is partisan, it should hold interest for those who favor other positions in the philosophy of mind, since (a) much of the account can be taken on board by those in other camps, and (b) the paper demonstrates how a sufficiently detailed account of doubt can be put to work addressing longstanding questions of interest across philosophical sub-disciplines.     

Can Emotions Have Abstract Objects? The Example of Awe

Can we feel emotions about abstract objects, assuming that abstract objects exist? I argue that at least some emotions can have abstract objects as their intentional objects and discuss why this conclusion is not just trivially true. Through critical engagement with the work of Dacher Keltner and Jonathan Haidt, I devote special attention to awe, an emotion that is particularly well suited to show that some emotions can be about either concrete or abstract objects. In responding to a possible objection, according to which we can only feel emotions about things that we take to matter to our flourishing, and thus cannot feel emotions about causally inefficacious abstract objects, I explore how abstract objects can be relevant to human flourishing and discuss some emotions other than awe that can be about abstract objects. I finish by explaining some reasons why my conclusion matters, including the fact that it presents a challenge to perceptual theories of emotion and causal theories of intentionality.