Generality of the summation effect in human causal learning

Considerable research has examined the contrasting predictions of the elemental and configural association theories proposed by Rescorla and Wagner (1972) and Pearce (1987), respectively. One simple method to distinguish between these approaches is the summation test, in which the associative strength attributed to a novel compound of two separately trained cues is examined. Under common assumptions, the configural view predicts that the strength of the compound will approximate to the average strength of its components, whereas the elemental approach predicts that the strength of the compound will be greater than the strength of either component. Different studies have produced mixed outcomes. In studies of human causal learning, Collins and Shanks (2006) suggested that the observation of summation is encouraged by training, in which different stimuli are associated with different submaximal outcomes, and by testing, in which the alternative outcomes can be scaled. The reported experiments further pursued this reasoning. In Experiment 1, summation was more substantial when the participants were trained with outcomes identified as submaximal than when trained with simple categorical (presence/absence) outcomes. Experiments 2 and 3 demonstrated that summation can also be obtained with categorical outcomes during training, if the participants are encouraged by instruction or the character of training to rate the separately trained components with submaximal ratings. The results are interpreted in terms of apparent performance constraints in evaluations of the contrasting theoretical predictions concerning summation.     

The wish for annihilation in ‘love–death’ as collapse of the need for recognition,in Wagner's Tristan und Isolde

Wagner's Tristan und Isolde holds a central position in Western music and culture. It is shown to demonstrate consequences of interruption of developmental processes involving the need for recognition of subjectivity, resulting in the collapse of this need into the wish for annihilation of self and other through ‘love–death’ [Liebestod]. A close reading of the musical language of the opera reveals how this interruption is demonstrated, and the consequent location of identity outside of language, particularly suitable for expression in music. Isolde's dynamics are presented as distinct from that of Tristan, and in contrast to other interpretations of Tristan and Isolde's love as an attack on the Oedipal order, or as a regressive wish for pre‐Oedipal union. Isolde's Act I narrative locates the origin of her desire in the protagonists' mutual gaze at a traumatic moment. In this moment powerful and contrasting emotions converge, evoking thwarted developmental needs, and arousing the fantasy of redemption in love–death. By removing the magical elements, Wagner enables a deeper understanding of the characters' positions in relation to each other, each with his or her own needs for recognition and traumatic experiences. These positions invite mutual identifications resulting in rising tension between affirmation of identity and annihilation, with actual death as the only possible psychic solution. The dynamics described in the opera demonstrate the function of music and opera in conveying meaning which is not verbally expressible.     

Richard Wagner and the Birth of The Birth of Tragedy 1

Abstract

Nietzsche writes that the ‘real task’ of The Birth of Tragedy is to ‘solve the puzzle of Wagner’s relation to Greek tragedy’. The ‘puzzle’, I suggest, is the intermingling in his art and writings of earlier socialist optimism with later Schopenhauerian pessimism. According to the former the function of the ‘rebirth of Greek tragedy’ in the ‘collective artwork’ is to ‘collect’, and so create, community. According to the second the function of the artwork is to intimate a realm ‘beyond’ this world of pain and death. The audacity of The Birth is that it attempts to show that Wagner can have his cake and eat it: the ‘Dionysian’, musical, element provides a ‘metaphysical comfort’, while the ‘Apollonian’, verbal, element draws a ‘veil of oblivion’ over the metaphysical, thereby allowing the artwork to solidify community. Contrary to the standard Anglophone view, this perspective on The Birth shows that Nietzsche’s intimate association with Wagner during the period of its creation lies at the heart of its philosophical content.     

Blocking, unblocking, and overexpectation in autoshaping with pigeons

Three experiments used pigeons in an autoshaping procedure and a single-subject design to examine compound stimulus control in classical conditioning. Experiment 1 examined the blocking effect, and Experiment 2 examined the unblocking effect. In both experiments, response-independent food was first delivered intermittently in the presence of one distinctively colored houselight but not another. Then, conventional autoshaping trials were carried out in the presence of each houselight. In Experiment 1, the keylight readily elicited responding in the presence of the houselight that had been negatively correlated with food, but not in the presence of the houselight that had been positively correlated with food. In Experiment 2, the keylight readily elicited responding in the presence of the houselight positively correlated with food, but only when the amount of food used on the autoshaping trials was either greater or less than that previously delivered in the presence of the houselight. Experiment 3 examined the overexpectation effect. Conventional autoshaping trials were first carried out by presenting each of two keylights individually. Then, additional autoshaping trials were carried out by presenting the two keylights as a compound, with either the same amount of food or a greater amount of food per trial. Finally, the keylights were retested by again presenting them individually. The number of responses per trial elicited by the keylights decreased when the amount of food used in compound trials was the same as that used in individual trials. However, the number of responses per trial remained approximately the same when the amount of food used in compound trials was greater than that used in individual trials. Taken together, the results of the three experiments demonstrate (a) the generality of the blocking, unblocking, and overexpectation effects by virtue of their extension to appetitive unconditioned stimuli; (b) the suitability of pigeons as subjects and autoshaping as a procedure for studying classical conditioning; and (c) the appropriateness of single-subject designs.