“亚当·斯密问题”的逻辑张力

“亚当·斯密问题”是指斯密的《国富论》与《道德情操论》之间存在着对立或不一致的问题,最初由十九世纪中叶的德国历史学派所提出。此后,随着现实与理论的发展,出现了不同的看法。学者们普遍认为,斯密的两大著作之间、经济学与伦理学之间存在着对立或者不存在对立,而是相互一致的。这些看法都具有各自的积极合理的内容,但缺乏辩证的观点,而没有看到“斯密问题”自身的逻辑张力,也就是说,“斯密问题”所指涉的是现实的经济与伦理之间及作为其理论表现的经济学与伦理学之间的关系。“斯密问题”所含的这些关系呈现出了一个动态的、由肯定到否定再到否定之否定的辩证过程。     

Presence and television.

Film and a number of emerging entertainment technologies offer media consumers an illusion of nonmediation known as presence. To investigate the possibility that television can evoke presence, 65 undergraduate students were shown brief examples of rapid point‐of‐view movement from commercially available videotapes on a television with either a small screen (12 inches [30.5 cm], measured diagonally) or a large screen (46 inches [116.8 cm]). Participants' responses were measured via a questionnaire and a computer‐based recording of arousal (electrodermal activity). Viewers of both televisions reported an enjoyable sense of physical movement, excitement, involvement, and a sense of participation. Furthermore, as predicted, participants who watched the large screen television thought the movement in the scenes was faster, experienced a greater sense of physical movement, enjoyed the movement to a greater extent, found the viewing experience more exciting, and were more physiologically aroused. Practical and theoretical implications are discussed.     

Stimulus-specific dynamics of learning in conjunction search tasks

We investigated the time course of learning in visual search for within-dimension conjunctions in homogeneous (inverted V in Vs) or heterogeneous distractors (L in 90° counterclockwise-rotated Ls and 180° rotated Ls), and for across-dimension conjunctions search (green\in green/s and red\s). Two learning sessions of 10 and 5 blocks each took place three months apart. In the first session, the reduction in mean search time was greater for within-dimension conjunctions with heterogeneous distractors. Learning endured from one session to the other for all stimuli, suggesting that learning can be long-term in search for feature conjunctions. However, when the positional regularity between elements was perturbed, the effect of prior learning was reduced for homogeneous within-dimension conjunctions. This suggests that, for these stimuli, learning facilitates grouping by positional regularity. Finally, the learning effect with homogeneous withindimension conjunctions disappeared when both target and distractors were rotated to modify the orientation of conjunction patterns. This suggests that learning improves a grouping mechanism selective for the relative orientations of combined form features.     

The motion aftereffect reloaded

The motion aftereffect is a robust illusion of visual motion resulting from exposure to a moving pattern. There is a widely accepted explanation of it in terms of changes in the response of cortical direction-selective neurons. Research has distinguished several variants of the effect. Converging recent evidence from different experimental techniques (psychophysics, single-unit recording, brain imaging, transcranial magnetic stimulation, visual evoked potentials and magnetoencephalography) reveals that adaptation is not confined to one or even two cortical areas, but occurs at multiple levels of processing involved in visual motion analysis. A tentative motion-processing framework is described, based on motion aftereffect research. Recent ideas on the function of adaptation see it as a form of gain control that maximises the efficiency of information transmission at multiple levels of the visual pathway.     

Age,Emotion Regulation Strategies,Temperament, Creative Drama,and Preschoolers' Creativity

Based on Yeh's (2004) Ecological Systems Model of Creativity Development, this study investigated the effects that age, the use of emotion regulation strategies, temperament, and exposure to creative drama instruction have on the development of creativity among preschool children. Participants were 1164‐ to 6‐year‐old preschool children. This study categorized the emotion regulation strategies used by preschool children and developed a creativity test which includes the measurement of usefulness, an indicator of creativity that has, until now, been ignored. The main findings are that (a) 6‐year‐olds outperform 4‐ and 5‐year‐olds in terms of creativity; (b) emotion regulation strategies as well as a positive temperament have positive effects on children's creativity; (c) creative drama instruction contributes to children's creativity; and (d) age group, emotion regulation strategies, temperament, and creative drama instruction can collectively predict children's creativity.