The effect of 5-HTTLPR on EEG reactions among Yakuts and Russians during the recognition of emotionally colored verbal stimuli

Author(s):  
Tuyana Ayusheeva ◽  
Sergey Tamozhnikov ◽  
Alexandra Karpova ◽  
Alexander Saprygin ◽  
Natalia Borisova ◽  
...  
Keyword(s):  
Author(s):  
Elizeu Borloti

Verbal Behavior (VB) was the most important Skinner’s work. Generic self-analysis of the behavior registered on VB appears in its final parts and in others of the author’s books. This paper describes the functions of two specific under-classes of quoting episodes with transcription from other author’s text emitted by Skinner on VB. It deals with a historical research of the VB as the register of Skinner’s verbal behavior. From the general description of quoting with transcription, it establishes a functional analysis of two distinct under-classes by its autoclitic frame, according to a behavioral hermeneutics: a method that instructs a description of the controls on the interpretation. The formal-functional variations of quoting are informed: accurate verbal stimuli evocated the “argumentative” quoting (emitted with descriptive autoclitics) and the non-accurate, the “counter-argumentative” ones (emitted with manipulative and/or negation autoclitics). Despite of the difficulty in discriminating all controls on the interpretation, the paper shows the functional consistency of some the devices of persuasion in the Skinnerian rhetoric.


2021 ◽  
Vol 11 (6) ◽  
pp. 719
Author(s):  
Monika Toth ◽  
Anke Sambeth ◽  
Arjan Blokland

The processing of pre-experimentally unfamiliar stimuli such as abstract figures and non-words is poorly understood. Here, we considered the role of memory strength in the discrimination process of such stimuli using a three-phase old/new recognition memory paradigm. Memory strength was manipulated as a function of the levels of processing (deep vs. shallow) and repetition. Behavioral results were matched to brain responses using EEG. We found that correct identification of the new abstract figures and non-words was superior to old item recognition when they were merely studied without repetition, but not when they were semantically processed or drawn. EEG results indicated that successful new item identification was marked by a combination of the absence of familiarity (N400) and recollection (P600) for the studied figures. For both the abstract figures and the non-words, the parietal P600 was found to differentiate between the old and new items (late old/new effects). The present study extends current knowledge on the processing of pre-experimentally unfamiliar figurative and verbal stimuli by showing that their discrimination depends on experimentally induced memory strength and that the underlying brain processes differ. Nevertheless, the P600, similar to pre-experimentally familiar figures and words, likely reflects improved recognition memory of meaningless pictorial and verbal items.


1973 ◽  
Vol 37 (1) ◽  
pp. 51-62 ◽  
Author(s):  
Jose I. Lasaga ◽  
Agueda M. Lasaga

8 Ss were presented verbal stimuli (numbers) during different stages of sleep. 15 sec. after each presentation they were awakened and asked if they had heard anything. If not, they were presented a multiple-choice test including the stimulus and another 3 numbers. It was concluded that: (1) even during stages 3 and 4 some perception of verbal stimuli is possible during sleep; (2) there is a progressive blurring of perception from stage 1 and REM to stages 3 and 4; (3) some forms of learning seem to be possible during sleep beyond a drowsy state, e.g., associations of words, but perceptual distortions make extremely unlikely the assimilation of complex verbal materials. It was also noticed that most verbal stimulations tended to produce a lightening of sleep as measured by the EEG. Based on the responses of some Ss the possibility of some form of subliminal perception during sleep was also raised.


2021 ◽  
Author(s):  
David A. Booth

Some psychologists have viewed sadness and depression as reactions to past loss, while regarding fear and anxiety as responses to future threat. Such assumptions conflict with common experience of gloom about the future and worry about the past. Recent research on these issues by experiment and/or by questionnaire remains inconclusive. The psychometric questionnaires purport to be situation-free and the laboratory experiments use artificial tasks; hence, neither approach addresses realities in the present, past or future. In recent psychometrics, the distinction between anxiety and depression has been dissolved into one category of negative affect. One widely used inventory for separating the two emotions conflates depression with the absence of a good mood. These deficiencies were addressed in a diverse convenience sample (N = 379) by running an experiment entirely within a questionnaire. Each of the 40 question items was a miniature vignette, describing a past or future emotive situation while in bad or good mood. Five categories of situation varied in proportion of threat to loss. Strength and valence of affective response were measured by degree of autobiographical assent to or dissent from an item. This inventory provides fully affect-balanced situation-oriented depression / anxiety scaling.Effect sizes from analysis of variance showed that anxiety arises from past as well as future threats, while depression is at least as strongly oriented to losses in the future as in the past. Variation in category of situation or in valence of mood also had substantial effects. It is concluded that worry and gloom travel freely across time and situations, whether present mood is bad or good. Both laboratory experiments and psychometric scales come closer to actual processes of emotion and motivation when they revivify familiar situations using valence-balanced verbal stimuli.


2018 ◽  
Vol 71 (4) ◽  
pp. 817-823
Author(s):  
Andrew J Johnson ◽  
Ryan Hawley ◽  
Christopher Miles

This study examines the effects of within-sequence repetitions for visually presented consonants under conditions of quiet and concurrent articulation (CA). In an immediate serial recall (ISR) procedure, participants wrote down the six consonants in the order of original presentation. CA reduced serial recall and abolished the phonological similarity effect. However, the effects of within-trial repetitions were broadly similar under quiet and CA. Specifically, adjacent repetitions facilitated recall of the repeated item, whereas spaced repetitions (separated by three intervening items) impaired recall accuracy for the repeated item (i.e., the Ranschburg effect). These data are the first to demonstrate the Ranschburg effect for visual-verbal stimuli under CA.


1983 ◽  
Vol 6 (4) ◽  
pp. 20-27 ◽  
Author(s):  
Pieter C. Duker ◽  
Dorine van Grinsven ◽  
Winckelsteegh

It is often stated that pairing of verbal stimuli and gestures may facilitate the acquisition of verbal responses. This hypothesis was tested with three severely developmentally retarded individuals. It was found that verbal training only and verbal training plus gestures both resulted in the acquisition of noun-verb labeling responses. So, the procedures did not differentially influence the percentage of correct verbal labeling responses. The finding that gestural responses, although never explicitely followed by reinforcement, were shown across all conditions was discussed in terms of their potential role in maintaining verbal reponses.


1978 ◽  
Vol 1 (1) ◽  
pp. 29-37
Author(s):  
Michael E. Cleveland

Formal composition should not be a beginning creative musical activity, but should be preceded by freer, more divergent experiences with sound. Also, the concept of “composition” should be put aside in favor of that “organization of sounds.” Free exploration of sounds, using poetry or other means, may ultimately lead to the convergent skills required for formal composition. Five ways of using poetry and the language for creative experiences in music are discussed: 1. Inventing words for familiar songs 2. Writing song lyrics to a familiar melodic pattern 3. Adding sounds to an existing poem 4. Creating an original sound-piece from a poem 5. Improvising upon verbal stimuli


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