Linguistic encoding in short-term memory as a function of stimulus type

In this study, we investigated bases for encoding linguistic stimuli in short-term memory. Past research has provided evidence for both phonological (sound-based) and cherological (sign-based) encoding, the former typically found with hearing subjects and the latter with deaf users of sign language. In the present experiment, encoding capabilities were delineated from encoding preferences, using 58 subjects comprising six groups differing in hearing ability and linguistic experience. Phonologically related, cherologically related, and control lists were presented orally, manually, or through both modalities simultaneously. Recall performance indicated that individuals encode flexibly, the code actually used being biased by incoming stimulus characteristics. Subjects with both sign and speech experience recalled simultaneous presentations better than ones presented orally or manually alone, which reveals the occurrence of enhanced encoding as a function of linguistic experience. Total linguistic experience appeared to determine recall accuracy following different types of encoding, rather than determining the encoding basis used.     

工作负载的测量和评定

长期处于应激状态而又适应不良者可导致疾病。人类经常遇到的心理、社会性应激源除了生活事件以外,长期工作负载过重也是其中之一。本文通过对24名在监护病房工作的护士的工作负载的测量介绍了在西方国家常用的工作负载的测量和评定方法。     

Intrinsic enjoyment and boredom coping scales: Validation with personality,evoked potential and attention measures

This paper reports the validation of brief, self-report measures of intrinsic enjoyment and boredom coping. Intrinsic enjoyment is characterized by intense involvement, interest and absorbed concentration; boredom coping is designed to reflect the disposition to restructure one's perceptions and participation in potentially boring activities so as to decrease boredom. Both traits are hypothesized to reflect the capacity for good attentional control across a variety of situations. Reliability was established by test-retest correlation and by an inter-item consistency measurement. Construct validity was established by comparison with previously-validated personality tests, real-life measures (such as Random Activities Experiential Sampling, which involves repeated self-report measures in daily life), as well as with laboratory measures of attention (including the averaged visual evoked potential (EP) and the Continuous Performance Test). Intrinsic enjoyment is significantly correlated with an independent measure of intrinsic involvement (low wish to be elsewhere in one's daily life), the affective experience of potency, self-reports of concentrating well with ease, high ego development, an internal locus of control, lack of boredom susceptibility and certain EP indices of attentional change and ‘cortical’ augmenting. Boredom coping is associated with a higher percent of time actually spent alone, high continuous performance task measures of attentional capacity, and low MMPI and Research Diagnostic Criteria indices of psychopathology.     

Death by 1000 ‘true fans’: Do marketing laws apply to music listening?

The advice to musicians and marketers is to focus on what they love: a truism for practitioners is to find 1000 ‘true fans’ and make $100 from each of them (Kelly, 2008. 1000 True fans. The Technium). If this advice is correct, we should see musicians with loyal user bases engaging more with their favourite artists and less with other music, suggesting a narrow targeting strategy would suffice. On the other hand, the established marketing laws indicate that the listeners of very different genres should overlap more than conventional wisdom would suggest, supporting the need for a much broader approach to targeting potential audiences. Given these conflicting views, musicians need to know if they should market to their existing listeners, the listeners of music similar to theirs (i.e., the same genre), or if they should try to reach a much wider audience. We turn to established choice patterns from the marketing literature to address these questions in the music context. This study examines 84,000,000 observations of music listening from 27,000 unique global users between 2013 and 2014 and survey data from 2019 containing music listening from over 1000 representative respondents in the United States. The results show that listening follows the Duplication of Purchase law for genres, artists, albums, and songs, at an annual, 6-months, 3-months, 1-month, and 1-week period, with no indication of partitioned music listening. The implication is that musicians should try to reach all potential listeners, regardless of what they already listen to. These findings contribute to the theoretical knowledge about duplication analyses of various durations, extend the contexts of choice behaviour that exhibit this pattern, and managerially, to knowledge about the extent of potential audiences and ‘share of ear’ competition.