A widespread assumption in recent research on attitudes is that self-reported evaluations reflect conscious attitudes, whereas indirectly assessed evaluations reflect unconscious attitudes. The present article reviews the available evidence regarding unconscious features of indirectly assessed “implicit” attitudes. Distinguishing between three different aspects of attitudes, we conclude that people sometimes lack conscious awareness of the origin of their attitudes, but that lack of source awareness is not a distinguishing feature of indirectly assessed versus self-reported attitudes, there is no evidence that people (...) lack conscious awareness of indirectly assessed attitudes per se, and there is evidence showing that, under some conditions, indirectly assessed attitudes influence other psychological processes outside of conscious awareness. Implications for the concept of “implicit attitudes” are discussed. (shrink)

The Heythrop Journal, Volume 63, Issue 5, Page 1023-1023, September 2022.

The selfish goal metaphor is interesting and intriguing. It accounts for the idiosyncrasies and inconsistencies in peoples' goal pursuits without invoking free will, self-regulatory, or self-control failures. However, people pursue multiple goals, sometimes simultaneously. We argue that the model proposed in the target article may gain significant theoretical and practical value if the principles underlying goal selection and/or balancing on a moment-to-moment basis are clearly specified and integrated with the notion of the selfish goal.

Reading is not only “cold” information processing, but involves affective and aesthetic processes that go far beyond what current models of word recognition, sentence processing, or text comprehension can explain. To investigate such “hot” reading processes, standardized instruments that quantify both psycholinguistic and emotional variables at the sublexical, lexical, inter-, and supralexical levels (e.g., phonological iconicity, word valence, arousal-span, or passage suspense) are necessary. One such instrument, the Berlin Affective Word List (BAWL) has been used in over 50 published studies (...) demonstrating effects of lexical emotional variables on all relevant processing levels (experiential, behavioral, neuronal). In this paper, we first present new data from several BAWL studies. Together, these studies examine various views on affective effects in reading arising from dimensional (e.g., valence ) and discrete emotion features (e.g., happiness ), or embodied cognition features like smelling. Second, we extend our investigation of the complex issue of affective word processing to words characterized by a mixture of affects. These words entail positive and negative valence, and/or features making them beautiful or ugly. Finally, we discuss tentative neurocognitive models of affective word processing in the light of the present results, raising new issues for future studies. (shrink)

Plato’s Meno problem is the problem of why knowledge is better than true belief which is not knowledge. The paper studies the account of this surplus value of knowledge that recent reliabilist virtue epistemologists like John Greco and Ernest Sosa have proposed: knowledge is true belief from epistemic virtue. I reconstruct the master argument which subsumes the epistemic case under the general case of success from virtue. Five accounts of virtue are presented and discussed critically. The result is that only (...) the fifth account – the refined dispositionalist account of virtue, based on an idea of J.J. Thomson – is viable, for the purposes of accounting for the surplus value of knowledge along the lines of the master argument. However, there is at least one remaining question, namely, of why success from virtue has surplus value in general. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book on (...) Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

This article attempts a contextual study of the origin and early development of August Kekulé's theory of aromatic compounds. The terminus a quo is essentially August Hofmann's coining of the modern chemical denotation of ‘aromatic’ in 1855; the terminus ad quem is the first full codification of Kekulé's theory in the sixth fascicle of his Lehrbuch der organischen Chemie, published in the summer of 1866. Kekulé's theory is viewed in context with the earlier and concurrent experimental work of such (...) chemists as Hermann Kolbe, Friedrich Beilstein, Rudolph Fittig, and Hugo Müller. The reception of the theory is briefly examined. Attention is paid to the role of Kekulé's molecular models and of his celebrated dream anecdote of the snake that seizes its own tail. The episode is used as a case study for the continuity of scientific progress, and to illustrate the close reciprocal interactions of hypothesis and experiment in the evolution of a scientific theory. (shrink)