Measuring Anxiety and Depression in Ghanaian and U.S. College Students

Differences between Ghanaian (n = 465) and U.S. (n = 425) college students on the Hopkins Symptom Checklist‐25 (HSCL‐25; Mollica, Wyshak, de Marneffe, Khuon, & Lavelle, 1987 ) were examined. Compared with their U.S. counterparts, Ghanaians reported less general distress related to anxiety and depression, more anxiety‐specific distress, and no differences in depression‐specific distress. A multidimensional approach may be most appropriate in HSCL‐25 screening for symptoms of anxiety and depression. Se examinaron las diferencias entre estudiantes universitarios ghaneses (n = 465) y estadounidenses (n = 425) en el Listado de Síntomas de Hopkins‐25 (HSCL‐25, por sus siglas en inglés; Mollica, Wyshak, de Marneffe, Khuon, & Lavelle, 1987 ). Comparados con sus homólogos estadounidenses, los ghaneses comunicaron un menor sufrimiento general relacionado con la ansiedad y depresión, un mayor sufrimiento específico relacionado con la ansiedad, y no hubo diferencias en el sufrimiento específico relacionado con la depresión. Un enfoque multidimensional puede ser el más apropiado en el chequeo de HSCL‐25 para síntomas de ansiedad y depresión.     

Swimming against the Paradigm Tide: Practicing Psychoanalysis Today

Special Section

Swimming against the Paradigm Tide: Practicing Psychoanalysis Today     

The integration of stimulus dimensions in the perception of music

A central aim of cognitive psychology is to explain how we integrate stimulus dimensions into a unified percept, but how the dimensions of pitch and time combine in the perception of music remains a largely unresolved issue. The goal of this study was to test the effect of varying the degree of conformity to dimensional structure in pitch and time (specifically, tonality and metre) on goodness ratings and classifications of melodies. The pitches and durations of melodies were either presented in their original order, as a reordered sequence, or replaced with random elements. Musically trained and untrained participants (24 each) rated melodic goodness, attending selectively to the dimensions of pitch, time, or both. Also, 24 trained participants classified whether or not the melodies were tonal, metric, or both. Pitch and temporal manipulations always influenced responses, but participants successfully emphasized either dimension in accordance with instructions. Effects of pitch and time were mostly independent for selective attention conditions, but more interactive when evaluating both dimensions. When interactions occurred, the effect of either dimension increased as the other dimension conformed more to its original structure. Relative main effect sizes (| pitch η(2) - time η(2) |) predicted the strength of pitch-time interactions (pitch?×?time η(2)); interactions were stronger when main effect sizes were more evenly matched. These results have implications for dimensional integration in several domains. Relative main effect size could serve as an indicator of dimensional salience, such that interactions are more likely when dimensions are equally salient.     

The role of pitch and temporal diversity in the perception and production of musical sequences

In two experiments we explored how the dimensions of pitch and time contribute to the perception and production of musical sequences. We tested how dimensional diversity (the number of unique categories in each dimension) affects how pitch and time combine. In Experiment 1, 18 musically trained participants rated the complexity of sequences varying only in their diversity in pitch or time; a separate group of 18 pianists reproduced these sequences after listening to them without practice. Overall, sequences with more diversity were perceived as more complex, but pitch diversity influenced ratings more strongly than temporal diversity. Further, although participants perceived sequences with high levels of pitch diversity as more complex, errors were more common in the sequences with higher diversity in time. Sequences in Experiment 2 exhibited diversity in both pitch and time; diversity levels were a subset of those tested in Experiment 1. Again diversity affected complexity ratings and errors, but there were no statistical interactions between dimensions. Nonetheless, pitch diversity was the primary factor in determining perceived complexity, and again temporal errors occurred more often than pitch errors. Additionally, diversity in one dimension influenced error rates in the other dimension in that both error types were more frequent relative to Experiment 1. These results suggest that although pitch and time do not interact directly, they are nevertheless not processed in an informationally encapsulated manner. The findings also align with a dimensional salience hypothesis, in which pitch is prioritised in the processing of typical Western musical sequences.     

Contrast masking reveals spatial-frequency channels in stereopsis.

Yang and Blake (1991 Vision Research 31 1177-1189) investigated depth detection in stereograms containing spatially narrow-band signal and noise energies. The resulting masking functions led them to conclude that stereo vision was subserved by only two channels peaking at 3 and 5 cycles deg-1. Glennerster and Parker (1997 Vision Research 37 2143-2152) re-analysed these data, taking into account the relative attenuation of low- and high-frequency noise masks as a consequence of the modulation transfer function (MTF) of the early visual system. They transformed the data using an estimated MTF and found that peak masking was always at the signal frequency across a 2.8 octave range. Here we determine the MTF of the early visual system for individual subjects by measuring contrast thresholds in a 2AFC orientation-discrimination task (horizontal vs vertical) using band-limited stimuli presented in a 7 deg x 7 deg window at 4 deg eccentricity. The filtered stimuli had a bandwidth of 1.5 octaves in frequency and 15 degrees in orientation at half-height. In the subsequent stereo experiment, the same (vertical) filters were used to generate both signal and noise bands. The noise was binocularly uncorrelated and scaled by each subject's MTF. Subjects performed a 2AFC depth-discrimination task (crossed vs uncrossed disparity) to determine threshold signal contrast as a function of signal and mask frequency. The resulting functions showed that peak masking was at the signal frequency over the three octave range tested (0.4-3.2 cycles deg-1). Comparison with simple luminance-masking data from experiments with similar stimuli shows that bandwidths for stereo masking are considerably larger. These data suggest that there are multiple bandpass channels feeding into stereopsis but that their characteristics differ from luminance channels in pattern vision.     

Commercial Boycotting and Conscientious Breach of Contract

In this article we argue that commercial boycotting is not an uncontested economic right. Rather, the practice of boycotting often requires further moral justification. We argue that this justification should not rely solely on the consequences of boycotting, nor should it rely solely on the complicity of the consumer. We suggest that both justifications are subject to pressing objections. In light of these objections, we outline an alternative non‐consequentialist justification of commercial boycotting that is grounded in the moral values of conscience and personal integrity. We then explore the scope of this justification in the legal realm. We focus on cases where consumers lack freedom of exchange due to their contractual obligations and conclude by defending a qualified legal right to breach contracts on conscientious grounds.     

Creating Alternative Reality: A Case Study

The American Journal of Psychoanalysis - The sense of reality that underlie political beliefs are created through a group process that emerges from the intersection of the psyches of leaders and...