: A growing body of evidence suggests that traditional views of automaticity are in need of revision. For example, automaticity has often been treated as an all-or-none phenomenon, and traditional theories have held that automatic processes are independent of attention. Yet recent empirial data suggests that automatic processes are continuous, and furthermore are subject to attentional control. In this paper we present a model of attention which addresses these issues. Using a parallel distributed processing framework we propose that the attributes of automaticity depend upon the strength of a process and that strength increases with training. Using the Stroop effect as an example, we show how automatic processes are continuous and emerge gradually with practice. Specifically, we present a computational model of the Stroop task which simulates the time course of processing as well as the effects of learning.

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On the control of automatic processes: A parallel distributed processing account of the stroop effect

Do we consciously cause our actions, or do they happen to us? Philosophers, psychologists, neuroscientists, theologians, and lawyers have long debated the existence of free will versus determinism. In this book Daniel Wegner offers a novel understanding of the issue. Like actions, he argues, the feeling of conscious will is created by the mind and brain. Yet if psychological and neural mechanisms are responsible for all human behavior, how could we have conscious will? The feeling of conscious will, Wegner shows, helps us to appreciate and remember our authorship of the things our minds and bodies do. Yes, we feel that we consciously will our actions, Wegner says, but at the same time, our actions happen to us. Although conscious will is an illusion, it serves as a guide to understanding ourselves and to developing a sense of responsibility and morality. Approaching conscious will as a topic of psychological study, Wegner examines the issue from a variety of angles. He looks at illusions of the will -- those cases where people feel that they are willing an act that they are not doing or, conversely, are not willing an act that they in fact are doing. He explores conscious will in hypnosis, Ouija board spelling, automatic writing, and facilitated communication, as well as in such phenomena as spirit possession, dissociative identity disorder, and trance channeling. The result is a book that sidesteps endless debates to focus, more fruitfully, on the impact on our lives of the illusion of conscious will.

The Illusion of Conscious Will

Presents eight specially written chapters which provide a coherent survey of major issues in the study of language and communication, and which show how these are related to questions of practical concern in the learning and teaching of second and foreign languages. The issues discussed have been selected primarily for their relevance to applied linguistics, and there is a unifying interest in how language reflects the communicative functions it performs as well as in the process involved in using language for communication. Each chapter presents a self-contained survey of a central issue, is prefaced by an introduction linking the different perspectives, and is followed by discussion questions to aid effective use of the text in applied linguistics courses.

Language and Communication

Several theoretical views of automaticity are discussed. Most of these suggest that automaticity should be diagnosed by looking at the presence of features such as unintentional, uncontrolled/uncontrollable, goal independent, autonomous, purely stimulus driven, unconscious, efficient, and fast. Contemporary views further suggest that these features should be investigated separately. The authors examine whether features of automaticity can be disentangled on a conceptual level, because only then is the separate investigation of them worth the effort. They conclude that the conceptual analysis of features is to a large extent feasible. Not all researchers agree with this position, however. The authors show that assumptions of overlap among features are determined by the other researchers’ views of automaticity and by the models they endorse for information processing in general.

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Automaticity: A Theoretical and Conceptual Analysis.

Pornography: Men Possessing Women

Kriege die ich gesehen habe

The research experiment described in this article, “Readies Online,” started as a database to make accessible a rare manuscript of important modernist poets and writers including Gertrude Stein, William Carlos Williams, Ezra Pound, F. W. Marinetti, Kay Boyle, Nancy Cunard, Eugene Jolas, and many others. Each of these contributors had sent works prepared for Bob Brown's machine, and he called the prepared texts readies. In the midst of building the collection of texts, the researcher realized that moving the texts through an electronic version of Brown's machine, or through the interface constructed on the website to simulate Brown's machine, changed how one read — even changed the essence of what one read. Speed, pace, direction, and visual cues took on new importance already apparent in reading printed texts, but not stressed. Punctuation now represented an illegible and non-representational, visual cue rather than a direct link to the phono-centric pauses and stops that are more commonly represented by punctuation. The futures of reading, and the use of new devices like e-readers, will have consequences for the definition and practice of what we call reading. As a matter of principle, the book is illegible, and it calls for or commands reading in the name of that illegibility. Illegibility is not a question of what is too badly formed, crossed out, scribbled: the illegible is what remains closed in the opening of the book. What slips from page to page but remains caught, glued, stitched into the binding, or else laboriously jotted as marginalia that attempt to trip over the secret, that begin to write another book. What is illegible is not reading at all, yet only by starting from it does something then offer itself to reading. [Nancy 2005, 27] In 1931, in the French Côte d'Azur village of Cagnes-sur-Mer, a group of expatriate avant-garde artists and writers gathered to try out a prototype of a reading machine built by Ross Saunders, according to the plans and designs of Robert Carlton Brown II (1886-1959), known to the avant-garde writers as Bob Brown. Brown, a bestselling writer and international publisher, was part of the modernist circles not just in the late 1920's and early 1930's, but also since 1916 when he first started publishing his avant-garde poetry. After traveling the world for two years with the profits from his publishing empire, Bob spent a few years in Europe, mostly in France, publishing a handful of experimental books with prominent presses as well as with his own imprint, Roving Eye Press. After publishing two versions of his plans for the machine, Brown decided to invite the most distinguished expatriate modernist writers to contribute to a new volume, The Readies for Bob Brown’s Machine. The authors included in the original anthology included poets and writers like Gertrude Stein, William Carlos Williams, Ezra Pound, F. W. Marinetti, Kay Boyle, Nancy Cunard, Eugene Jolas, and many others. Each of these contributors was asked to send texts prepared according to Bob’s instructions in what he called “readies” style. Bob also transferred at least some of these texts on rolls of paper with one single line of text, and he prepared at least one other sample of a text printed in “readies” style to show to engineers who might build and manufacture the machine. He never found a manufacturer, but his dreams for a reading mechanism were similar to the eventual microfilm machines. Brown wrote to the inventor of

DHQ: Digital Humanities Quarterly: Readies Online

Modernism and Music-Daniel Albright 2004-02-03 If in earlier eras music may have seemed slow to respond to advances in other artistic media, during the modernist age it asserted itself in the vanguard. Modernism and Music provides a rich selection of texts on this moment, some translated into English for the first time. It offers not only important statements by composers and critics, but also musical speculations by poets, novelists, philosophers, and others-all of which combine with Daniel Albright's extensive, interlinked commentary to place modernist music in the full context of intellectual and cultural history.

Modernism And Music An Anthology Of Sources

Marianne Moore and Gertrude Stein can be located at the heart of the avant-garde that engendered new literary forms and modes of expression in the first half of the twentieth century. This article will explore both similarities and differences in the poets’ methods of disrupting the dominant discourses, with a special emphasis on the use of language and conventions of representation and signification. The subtle and elusive subversiveness of Marianne Moore’s poem “Marriage” will be juxtaposed with Gertrude Stein’s violent deconstructive assaults in her “Patriarchal poetry”. Stein’s and Moore’s works share an impulse towards non-centrism and non-finality of meaning, plasticity and flexibility of form, and a conviction that a poem is a self-conscious process challenging the boundaries of logic, categorization, and the reader’s own expectations.

Gertrude Stein

Papers

Kriege die ich gesehen habe

DHQ: Digital Humanities Quarterly: Readies Online

Modernism And Music An Anthology Of Sources

"your thorns are the best part of you": the female poet and the question of non-conformity in the poetry of