This study examined the relationship between individual differences in executive functions (EF; assessed by measures of working memory, Stroop, trail making, and verbal fluency) and ability to down-regulate and up-regulate responses to emotionally evocative film clips. To ensure a wide range of EF, 48 participants with diverse neurodegenerative disorders and 21 older neurologically normal ageing participants were included. Participants were exposed to three different movie clips that were designed to elicit a mix of disgust and amusement. While watching the films (...) they were either instructed to watch, down-regulate, and up-regulate their visible emotional responses. Heart rate and facial behaviours were monitored throughout. Emotion regulatory ability was operationalised as changes in heart rate and facial behaviour in the down- and up-regulation conditions, controlling for responses in the watch condition. Results indicated that higher verbal fluency scores were related to greater ability to regulate emotion in both the down-regulation and up-regulation conditions. This finding remained significant even after controlling for age and general cognitive functioning. No relationships were found between emotion regulation and the other EF measures. We believe these results derive from differences among EF measures, with verbal-fluency performance best capturing the complex sequence of controlled planning, activation, and monitoring required for successful emotion regulation. These findings contribute to our understanding of emotion–cognition interaction, suggesting a link between emotion-regulatory abilities and individual differences in complex executive functions. (shrink)

The present paper focuses on the commentaries attributed to the Indian Yog?c?ra scholar Sthiramati. So far Sthiramati’s work has received far less attention from modern scholars than the texts of other Yog?c?ra authors like Asa?ga or Vasubandhu, possibly because of the erroneous view that as a commentator he has not been an original author in his own right. However, commentators like Sthiramati have shaped the doctrinal development of Yog?c?ra thought by introducing new concepts and reorganizing previous teachings to a similar (...) extent as ‘independent’ authors. In total seventeen works are ascribed to the author Sthiramati in Indian, Tibetan, Chinese and modern Western sources. The main concern of this study is to show some aspects of the relations between three of these works, namely the Madhy?ntavibh?ga??k?, the *S?tr?la?k?rav?ttibh??ya and the Tri??ik?vijñaptibh??ya, and to question the common authorship of these texts. (shrink)

This paper investigates the Yogācāra notions of “conceptuality”, represented by terms such as vikalpa, on the one hand, and of “non-conceptuality” on the other. The examination of the process of thinking as well as its absence has played a central role in the history of Yogācāra thought. The explanations of this process provided by Yogācāra thinkers in works such as the Yogācārabhūmi, the Mahāyānasūtrālaṃkāra and the Mahāyānasaṃgraha appear to be mainly concerned with the contents and the components of thoughts, categorizing (...) them into different classes. These lists are far more than arbitrary collections. Instead they are meant to represent exhaustive summaries of a person’s conceptual experience. The first part of the paper focusses on conceptuality, exploring definitions of the relevant terms and ideas. The second part is mainly an investigation of the question which parts of the Buddhist path to liberation were considered to involve conceptual activity and which were described as non-conceptual. (shrink)

Research shows that a culture of consumerism and materialism has a dramatic and negative impact on children's physical and psychological health. Psychologists have a duty to act to reverse this trend. Information on why and how to act is the key. This article explores the use of psychology to improve the effectiveness of advertising to youth and details the harm suffered by children as a result of some of this advertising. A discussion of ethical considerations related to specific guiding principles (...) and ethical standards of the 2002 American Psychological Association (APA) Ethics Code frames why action is imperative. Actions for psychologists to take in applying the 2002 APA Ethics Code are suggested herein. (shrink)

Modernism has been a celebration of the present. Why does it need a legacy ? Why should that which was born in the spirit of rebellion perpetuate itself as tomorrow’s past? Modernism has been profoundly reflective of late nineteenth- and twentieth-century cultural values. Is that not enough? It is not that modernism has forgotten the past—an art that rebels against its past must understand its adversary—but rather that it asks us not to forget the present. The revolt of modernism was (...) made possible, if not inevitable, by the rediscovery of the past. In earlier, eras, when the past was less readily accessible, artists worked for their present with little thought about their heritage. Renaissance composers, for example, generally knew little of music even two generations old; much medieval music theory and composition were based on misconceptions of Greek models. Yet by the nineteenth century, works from the past were available and understood. Virtually all composers agreed with Johannes Brahms, who reputedly said of Ludwig van Beethoven, “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” Historical consciousness had entered the arts, and artists were both threatened by competition with the past and seduced by the powerful idea that their works might outlive them. The Romantic artist became a genius speaking to posterity. Gustav Mahler was not the only Romanticist to pin his hopes on the future: “My time will yet come.” Small wonder that, once the future came to be, its artists rebelled against pronouncements from their past—the time rightfully belonged to them and no longer to Mahler’s generation. While many twentieth-century artists continued to create for their future, the most extreme modernists rejected not only their past but also the quest for immortality. They have written of their day and for their day. The real legacy of modernism is that it has no legacy. Jonathan D. Kramer is professor of music theory and composition at the College-Conservatory of Music at the University of Cincinnati and also program annotator and new music advisor of the Cincinnati Symphony Orchestra. He is currently working on Time and the Meanings of Music . His previous contribution to Critical Inquiry, “New Temporalities in Music,” appeared in Spring 1981. (shrink)

In this paper, I argue that the Hindmarsh and Wik cases stand as crucial case studies that evidence the ongoing production of terra nullius within contemporary Australian contexts. They bring into focus the critical importance the signifiers of property, capitalist ‘productivity’ and legality within the settler-colonial state. Alongside notions of ‘civility,’ discourses surrounding ‘economic productivity’ and ‘equality before the law’ are consistently mobilised in these cases to assert white sovereignty. In contradistinction to the discourses that construct Indigenous people’s relation to (...) land as a singular and affective ‘affinity,’ media, political and legal texts script white Australian land uses such as farming and mining as ‘productive’ and necessary for economic prosperity. They are posited with ‘monetary’ output and juridical standing in order to produce the narrative that the continent was lawfully ‘settled’ by ‘illustrious’ white Australians. Moreover, these signifiers ramify within colonial law. Following these cases, the state amended the Aboriginal and Torres Straight Islander Heritage Protection Act 1984 and the Native Title Act 1993 respectively. They ensured the material construction of the Hindmarsh Island Bridge and the revocation of specific Indigenous land rights in order to sustain the settler-colonial state’s claims to sovereignty. (shrink)

As this century has found new temporalities to replace linearity, discontinuities have become commonplace. Discontinuity, if carried to a pervasive extreme, destroys linearity…There were two enormous factors, beyond the general cultural climate, that promoted composers' active pursuit of discontinuities. These influences did not cause so much as feed the dissatisfaction with linearity that many artists felt. But the impact has been profound. One factor contributing to the increase of discontinuity was the gradual absorption of music from totally different cultures, which (...) had evolved over the centuries with virtually no contact with Western ideas…Cross-cultural exchange in music will, of course, never destroy aesthetic boundaries, but music of non-Western cultures continues to show Western composers new ways to use and experience time. The second tremendous influence on twentieth-century musical discontinuity was technological rather than sociological: the invention of recording techniques. Recording has not only brought distant and ancient musics into the here and now, it has also made the home and the car environment just as viable for music listening as the concert hall. The removal of music from the ritualized behavior that surrounds concertgoing struck a blow to the internal ordering of the listening experience. Furthermore, radios, records, and, more recently, tapes allow the listener to enter and exit a composition at will. An overriding progression from beginning to end may or may not be in the music, but the listener is not captive to that completeness. We all spin the dial, and we are more immune to having missed part of the music than composers might like to think. Jonathan D. Kramer is an associate professor of music theory and composition and director of electronic music at the College-Conservatory of Music of the University of Cincinnati. The present essay is part of his book, Time and Meaning in Music. (shrink)

Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern (...) works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand. (shrink)