: 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

Bee Time Vine, and Other Pieces, 1913-1927

List of Abbreviations Introduction TEXTS Melanctha (excerpt, from Three Lives, 1905) The Making of Americans (excerpt, 1911) Picasso (1911) Flirting at the Bon Marche (1911) Bon Marche Weather (1911) Orta or One Dancing (excerpt, 1912) Susie Asado (1912) Tender Buttons: Objects, Food (1913) Scenes from the Door (from Useful Knowledge, 1918) Photograph (1920) A Movie (1920) An Elucidation (1923) If I Told Him, A Completed Portrait of Picasso (1923) Fourteen Anonymous Portraits (1923) Are There Arithmetics (1923) Business in Baltimore (1925) Composition as Explanation (1926) Patriarchal Poetry (excerpt, 1927) Sentences and Paragraphs (from How to Write, 1930) History or Messages from History (1930) We Came A History (1930) Stanzas in Meditation (excerpt, 1932) Lecture I (from Narration, 1934) Identity a Poem (1935) What Are Master-pieces and Why Are There So Few of Them (1936) DOCUMENTS "With Apologies to Gertrude Stein," newspaper advertisement Two love notes from Stein to Toklas (nd): "Dear dainty delicious darling" and "Ir/Re/Sis/Ti /Belle" Virgil Thomson, Letter to Gertrude Stein (May 30, 1933) "Stein Opera Sung by All-Negro Cast," New York Times (February 9, 1934) Thornton Wilder, Introduction to Narration (1935) Selected Bibliography Acknowledgments of Permissions

Gertrude Stein: Selections

Q. e. d.

When Cezanne wrote to his son Paul, with some surprise, that eight of his paintings were to be exhibited at the Salon d’Automme (1906) one sees the transition into modernism coming slyly — to the amazement of even its greatest artists, who were long used to being ignored. So it is with all aesthetic and literary “movements,” despite the fact that in retrospect critics like to pretend that everyone was on the same page and of the same opinion. Disagreements such as Henri Matisse experienced (literal fisticuffs) were more likely to be the tenor of incipient change. And change took years; indeed, some change is never fully achieved. Think of the controversy in our own lifetimes about the Cubist paintings of Picasso — the fact that many viewers appreciate his “blue period” paintings and refuse to see the genius in the stark angles and nonhuman lines and shapes of his work of a decade later.

Gertrude Stein

Papers

Bee Time Vine, and Other Pieces, 1913-1927

Gertrude Stein: Selections

Q. e. d.

Modernism and the Avant-Garde

Operas and Plays