Effects of nicotine administration via a sublingual tablet on arousal and verbal ability in non‐smokers

Tobacco smoking or nicotine administration on its own can influence cognitive task performance. This study examined the effects of acute nicotine administration on verbal task performance and a physiological index of arousal. Healthy non‐smoking participants received either a 2‐mg sublingual nicotine tablet or placebo. Participants next completed various verbal tasks while heart rate recordings were taken concurrently. Nicotine increased heart rate relative to a pre‐administration baseline period, indicating that the new method of nicotine administration increased cardiovascular arousal. Nicotine was associated with reduced accuracy in a verbal matching task and reduced accuracy and increased reaction time in an anagram task, but had no effect on performance during an analogy or verbal fluency task. The data suggest that nicotine‐naïve individuals are unlikely to gain any benefit to their verbal ability from the single acute intake of nicotine, such as that obtained from cigarette smoking or by using nicotine replacement therapy products.     

Torture and judgments of guilt

Although torture can establish guilt through confession, how are judgments of guilt made when tortured suspects do not confess? We suggest that perceived guilt is based inappropriately upon how much pain suspects appear to suffer during torture. Two psychological theories provide competing predictions about the link between pain and perceived blame: cognitive dissonance, which links pain to blame, and moral typecasting, which links pain to innocence. We hypothesized that dissonance might characterize the relationship between torture and blame for those close to the torture, while moral typecasting might characterize this relationship for those more distant from it. Accordingly, this experiment placed participants into one of two different roles in which people may be exposed to torture. Participants in the proximal role of prison staffer saw suffering torture victims as relatively more guilty, while participants in the relatively distant role of a radio listener saw suffering victims as more innocent.     

How love and lust change people’s perception of relationship partners

Because love is related to thoughts in the distant future and lust triggers thoughts related to the present, based on construal level theory, we propose a link between love and a global processing style as well as a link between lust and a local processing style. These processing styles should further expand to partnership evaluations, partially explaining halo phenomena. In Study 1, college students and senior participants were primed by either imagining a walk with a person they were in love with, or a one-night stand. In Study 2, love and lust were primed subliminally. In all studies, love priming enhanced global, holistic processing and halos, whereas lust priming enhanced local, detail oriented processing and reduced halos. Moreover, in Study 1, temporal distance mediated the effects. Implications for research of moods on processing styles, partner perception, and the distinction between love and lust are discussed.     

Chess as a Behavioral Model for Cognitive Skill Research: Review of Blindfold Chess by Eliot Hearst and John Knott

This multifaceted work on chess played without sight of the pieces is a sophisticated psychologist's examination of this topic and of chess skill in general, including a detailed and comprehensive historical account. This review builds on Hearst and Knott's assertion that chess can provide a uniquely useful model for research on several issues in the area of cognitive skill and imagery. A key issue is the relationship between viewing a stimulus and mental imagery in the light of blindfold chess masters' consistent reports that they do not use or have images. This review also proposes a methodology for measuring and quantifying an individual's skill shortfall from a theoretical maximum. This methodology, based on a 1951 proposal by Claude Shannon, is applicable to any choice situation in which all the available choices are known. The proposed “Proficiency” measure reflects the equivalent number of “yes—no” questions that would have been required to arrive at a best choice, considering also the time consumed. As the measure provides a valid and nonarbitrary way to compare different skills and the effects of different independent variables on a given skill, it may have a wide range of applications in cognitive skill research, skill training, and education.     

Mill on Happiness: A question of method

There are issues in Reid scholarship as well as the primary texts that seem to suggest that Reid is not a direct realist about visual perception. In this paper, I examine two key issues – colour perception and visible figure – and attempt to defend the direct realism of Reid's theory through an interpretation of ‘directness’ as well as what Reid calls ‘acquired perception’, which is ‘mediate’ in that it requires prior perception of signs, but nonetheless constitutes direct perception.     

Descartes on the distinction between primary and secondary qualities

ABSTRACT

Descartes did not use the terms ‘primary’ and ‘secondary’ qualities, but a similar distinction emerges from his texts: certain qualities of objects (such as size and shape) are intrinsic properties of matter, whereas others (like colours and smells) are products of the interaction with a perceiver. A common interpretation states that the division between primary and secondary qualities is explained by the way in which we are acquainted with them: an idea of a primary quality is similar to its physical causes, and it is clearly and distinctly perceived by the intellect. An idea of a secondary quality is dissimilar to its physical causes and it is obscurely and confusedly perceived by the senses. This view receives the name of ‘bifurcation reading’ (Simmons, A. ‘Descartes on the Cognitive Structure of Sensory Experience’. Philosophy and Phenomenological Research, LXVII, no. 3 (November 2003)). While it integrates well some textual occurrences, it creates a problematic fragmentation within single acts of perception. This paper contends that this reading is incorrect. It presents several arguments for the claim that the distinction of qualities is due to the different ways in which our ideas of them misrepresent their physical causes. Then, Descartes’ dissimilarity thesis between physical objects and our ideas of them remains a structural feature of his theory of sensory perception and not a local phenomenon affecting only ideas of secondary qualities.     

Familiar and unfamiliar face recognition: A review

Since the 1970s there has been a continuing interest in how people recognise familiar faces (Bruce, 1979 Bruce, V. 1979. Searching for politicians: An information processing approach to face recognition. Quarterly Journal of Experimental Psychology, 31: 373–395. [Taylor & Francis Online], [Web of Science ®] , [Google Scholar]; Ellis, 1975 Ellis, H.D. 1975. Recognising faces. British Journal of Psychology, 66: 409–426. [Crossref], [PubMed], [Web of Science ®] , [Google Scholar]). This work has complemented investigations of how unfamiliar faces are processed and the findings from these two strands of research have given rise to accounts that propose qualitatively different forms of representation for familiar and unfamiliar faces. Evidence to suggest that we process familiar and unfamiliar faces in different ways is available from cognitive neuropsychology, brain scanning, and psychophysics. However, in this review we focus on the evidence, available from experimental investigations of how people recognise faces, for different types of representation existing for each type of face. Factors affecting recognition are evaluated in terms of how they apply to familiar and unfamiliar faces and categorised according to the nature of their impact. In the final section this evidence, along with recent advances in the field, is used to explore the way in which unfamiliar faces may become familiar and the factors that may be important for the development of familiar face representations.     

On Husserl's Essentialism

Abstract

The present paper argues that Merleau-Ponty’s notion of Flesh/reversibility intellectually is significantly flawed, and leads phenomenology into something of a dead end. This is shown through the following strategy. First Merleau-Ponty’s account of originary perception and his critique of the reflective attitude are expounded. They are shown to culminate in rejection of the subject-object relation as an ontological fundamental in favour of a ‘hyper-reflective method’. A critique of Merleau-Ponty’s position is then offered. It argues that originary perception is not logically prior to reflective thought, and that Merleau-Ponty fails to do justice to the scope of the subject-object relation. Specifically, he overlooks the way in which the relation is the basis of our practical perceptual orientation. It is then shown how this relation actually pervades Merleau-Ponty’s own all-important ‘hyper-reflective’ alternative – the notion of ‘Flesh’. Possible counter-arguments are considered and refuted. The need for a post-analytic phenomenology is posited.     

Editorial Notice

Abstract

John McDowell has claimed that the rational link between perceptions and empirical judgements allows us to perceive objects as belonging to a wider reality, one which extends beyond the objects perceived. In this way, we can be said to have a perceptual awareness of the world. I argue that McDowell's account of this perceptual awareness does not succeed. His account as it stands does not have the resources to explain how our perceptions can present objects as belonging to a wider reality, regardless of the judgements we make about that reality. I suggest that we can give a better account of this perceptual awareness of the world by appealing to transcendental phenomenology. A phenomenological study of perceptual experiences describes how they are structured by a sense of the perceived objects as belonging to a world containing other objects of possible perception. I shall outline this sense we have of the world, and argue that it allows us to perceive objects as belonging to a wider reality. Transcendental phenomenology can thus help to explain our perceptual awareness of the world.     

Learning to like it: Aesthetic perception of bodies,movements and choreographic structure

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical (ABCDCBA) and asymmetrical (ABCDBCA) sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with “good” continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure.