A quantum model for serial reproduction.

Working memory is crucial for short-term information processing, but its limited capacity means items are not represented with perfect fidelity to the external world. Many systematic patterns of error exist that are thought to be telling of the underlying mechanisms that process and maintain information in memory. Here, we suggest that the processes governing some of these patterns of errors are interrelated and highly individual. Specifically, we look at how perceptual structure relates to stimulus-specific biases in color and further explore the possible implication of this connection for contextual biases like serial dependence and repulsion between concurrently presented items. In Experiment 1, using a novel within-participant serial reproduction method, we reveal reliable attractors in color space across individuals, as well as individual differences that significantly influence these stimulus-specific biases. Simulations based on an independently measured perceptual structure of the stimulus space reproduce the group-level differences but do not capture the observed individual variation. In Experiment 3, we investigate how contextual biases-serial dependence when remembering one item and repulsion when remembering two items-interact with stimulus-specific properties. We identify color-specific properties of these contextual biases, as well as individual differences in the magnitude, direction, and stimulus-specific nature of these biases. We argue that because stimulus-specific biases are connected to perceptual structure, this same latent structure may impact contextual biases. Overall, we show a strong connection between stimulus-specific biases, contextual biases, and perceptual structure, as well as rich individual differences in these biases. (PsycInfo Database Record (c) 2025 APA, all rights reserved).

Introduction. The article examines methodical approaches to compiling the process of product certification and certification, which is an important step in ensuring stable road infrastructure. products. The authors emphasize the role of the species assessment body in guaranteeing the risk of serial reproduction. Problem statement. A full-scale assessment of product reliability is important not only by assessing the quality of the product, but also by confirming the stability of production processes and the ability to ensure proper control components of products (silhouettes, materials, components). Therefore, the selection for many types of road construction products is carried out through an invisible warehouse certification of serial production and certification of production. As a result, this process will require significant labor and expenditure for the quality assessment body and significant expenses for the manufacturer to pay for the relevant work, which creates the need to find an optimal balance between the interests of the manufacturer, Compliance with the body for assessing the type of species under the appropriate obligation and replacement of control in the process of suppression of proliferation. Meta. The purpose of this article is the development of methodical approaches to the processing of production, which will help reduce the risks of the production of unwanted products and at the same time reduce the productivity and complexity of production.

People often learn about science from various sources including scientists, journalists, and friends. Many studies assume people pay different levels of attention to expert and non-expert sources. This foundational assumption has largely been tested with selective exposure and reading time measures. In Study 1, we used eye-tracking to measure attention and found that individuals paid more attention to experts than non-experts. The results are promising as it suggests that people can discriminate between expert and non-expert information. But in Study 2, we showed that expertise cues do not survive person-to-person transmission via serial reproduction. Our studies highlight the need to use new methods to validate key theoretical assumptions about attention and the presence of expertise cues during social transmission.

Story retelling is an important form of communication, cultural practice, and message transmission. Insufficient sleep is known to affect relevant cognitive skill areas necessary for story retelling or transmission fidelity. We conducted a preregistered randomized cross-over study on n = 155 young adults with exogenously assigned nightly sleep levels experienced in their at-home environments. A serial story reproduction task was administered online, and chains of up to three retells of a given story involved varied numbers of sleep restricted (SR) versus well-rested (WR) retellers. While story content decayed with each retell, group-level analysis showed that additional SR retellers in a chain was associated with greater decay, which mostly resulted from the introduction of an initial SR reteller at the first retell. Supporting the group-level effect, individual-level analysis confirmed that the number of details and the story’s key event were significantly less preserved during a participant’s SR treatment week. Exploratory analysis showed an attenuation of this effect in those reporting a higher level of affective response (interest or surprise) in the story. This suggests that emotional engagement can combat the deleterious effects of SR on successful story retelling, and perhaps on other types of content recollection.

Bartlett's serial reproduction experiments (Bartlett 1932), in addition to cognitive and social psychology, find their application in research into changes in culture and art. The application of similar techniques such as Cadavre exquis (Exquisite corpse) in modern art is discussed. Starting from Martindale's idea that serial reproduction experiments can be used to examine and simulate real stylistic changes, it was hypothesized that they could also be applied in examining the genesis of a work of art. Experimental research was conducted in two phases. In the first one, students of the Faculty of Arts (N=30) reproduced three geometric stimuli using the method of group serial reproduction with the instruction to increase originality in ten stages. Thus, 30 stimuli were obtained for further research. In the second part, psychology students (N=270) gave aesthetic evaluations of reproductions on the scales of semantic differential. The results of the liking (ND) and artistic evaluation (UV) scales were discussed in the paper. The qualitative and quantitative analysis of the results shows that the transformations went in the direction of rationalization and emphasis, but not in the work of simplification. The growth trend of ND and UV was recorded as a function of reproduction phases. Thus, the initial hypotheses of the research were confirmed. Later reproductions in the series scored higher on these scales. Psychology students show consistency in their judgments of liking and artistic value, which may indicate their appropriate aesthetic taste. In subsequent research, it should be checked whether aesthetic patterns and preferences differ between subjects with artistic education and those without such education. It is also necessary to include experiments of individual serial reproduction with the instruction of increasing originality in order to more faithfully simulate the process of creating a work of art.

Abstract Illusory correlations are thought to underlie many undesirable judgements and behaviours, such as those that result in out‐group discrimination. In this research, illusory correlations are investigated in a dynamic fashion using the serial reproduction paradigm. Specifically, participants learned about members of certain groups and behaviours that they performed or attributes that they possessed. Afterwards, they were asked to recall that information and pass it on to other participants, such that whatever memory bias they produced was built into the information that was presented to others. Results revealed a weak tendency for the first participants to perceive an illusory correlation between certain groups and certain behaviours or attributes. More importantly, this pattern grew stronger as information was communicated across participants in a communication chain. That is, the illusory correlation became larger as the information passed from one participant to the next. These results show how biases can grow in society, such that what starts out as a very small misperception can acquire large proportions when incorrect information travels through different people.

Military images of the ancient Near East during the Early Bronze Age are characterized by one of their main features: the serial reproduction of soldiers and prisoners, side by side, the former clearly identifiable by the visual signs of power they bear and the latter by their humiliation. These images are usually and almost naturally conceived as the ideological prerogative of city-states in conflict for territorial domination or as signs of visual identity intended to reinforce the powers that be. However, the end of the Early Bronze Age is marked by the hegemony of the Akkadian dynasty and the iconographic changes that it generated. While strongly maintaining the military iconographic theme in its visual discourse, it broke with the motif of static parades of prisoners and introduced many details intended to clearly identify the protagonists, the enemies, or the environment of the battles. It could represent a transition from a discourse based on evocative repetition in order to present an ideal to one founded on detailed narration in order to assert the authenticity of an event. This paper investigates the phenomenon of repetition through soldiers and prisoners on images. Analyzing the message lying behind the series of hindered prisoners and battalions of soldiers also underlines the way the change of iconographic discourse during the Akkadian period can be understood, particularly given that the power of the Akkadian dynasty mainly rested on its military victories.

The familiar stranger is a social phenomenon that emerges from the serial reproduction of daily routines, structured around urban places and practices, that results in repeated encounters with the same individuals over time. Scholarship suggests that increased familiarity among individuals might incur crime control benefits at places by reducing individual anonymity and enhancing the moral obligation to obey behavioural norms. Familiarity with place-based norms and regularities can also enhance guardianship capacity and willingness to intervene when problems arise. In this paper, we detail a framework that integrates geographical, sociological, and psychological understandings of urban daily life to conceptualize the familiar stranger as a uniquely urban phenomenon emerging from multiple social processes synchronising in time-space. Our framework highlights the capacity for variation in relation to intensity contingent on daily regularities, place attributes, structures and social norms and provides for future measurement, modelling, and monitoring of familiar strangers as a protective factor against crime that can be ascribed to individuals, places and/or social systems. We include an operationalisation of our framework for a single use case, namely familiar stranger encounters in a public transit network.

Abstract: When faced with a choice between two ratios, some people prefer the option with the larger numerator instead of the larger ratio. In this study, participants read texts containing two options involving ratios, indicated their preference between those options, and recalled the texts. Using the serial reproduction method, the recall protocols were then given to other participants to read, judge, and recall. Results show that some people’s representations of the problem are distorted, favoring the option with the largest numerator; these distortions are associated with increased ratio bias and are amplified as information is socially transmitted. Finally, this social amplification progressively increases the ratio bias. These results show how small biases can grow larger when information is socially transmitted.

The purpose of this study was to examine the differences between psychology students (N=270) and art students (N=90) in aesthetic evaluations of visual stimuli. The stimuli were obtained by Bartlett's method of individual serial reproduction of geometric, realistic and abstract drawings with additional instruction to increase originality. The assessments was performed on the following scales of semantic differential: arousal potential (AP), primordial content (PC), liking scale (DL) and artistic value scale (AV). Psychology students and art students do not differ in overall AP scores, but there is a statistically significant interaction of education type and type of stimuli. Psychology students give statistically higher average AP assessments to reproductions of realistic and abstract stimuli, and art students to geometric stimuli. Psychology students like the drawings obtained by "individual" reproduction more (DL) and give them a higher artistic value (AV) than the art students. This finding is in line with earlier research that respondents without art education have milder criteria, that is, art students are stricter evaluators. The findings are in line with Kozbelt's data that subjects without artistic education value more, and are therefore more interested in technical skill and realism, while "artists" primarily value originality (Kozbelt, 2006). It can be concluded that respondents without art education and respondents with art education show a similar trends in evaluating serial reproductions, but that they apply different aesthetic criteria and evaluation principles.

The Impact of Insufficient Sleep on the Serial Reproduction of Information

The most widespread statement of political philosophy is presented here in the simplified and trivialised form of “man is X; he must become Y. ” Man must do so at the same time for himself, for his own survival, but also for the good of all, of the Community, of the City: the plurality must absolutely, in any way whatsoever, give way to unity, subject to [sous peine] and under threat of chaos. The essential question found confronting political doctrines, moreover since the prominence of the idea of democracy is the following: how to bring about the existence of a united society across a heterogeneous social body? The response from philosophy articulates itself around three principle schemas: the theoretical construction of a unified community under the order of similar laws to those of nature (Platonic schema); the search for the best regime, which will have as its ultimate end the moderation and perpetual regulation of conflicts, by an optimal combination of freedom and stability (Aristotelian schema); and the theorisation of the “end of politics” by the locating of a “social wrong” inscribed in a structure doomed to collapse by the practical negation of its ideological foundations (Marxian schema and derivatives). The mode of thought which imposes itself here is decisional. Beyond the third schema which constitutes in some way a meta-political critique, and necessitates that it alone has a particular analysis, in the two preceding, man constitutes a kind of material – raw or primary, depending – that philosophy will work on, and sculpt to give it a form that harmonises fully with the Whole that it prescribes. In political philosophy, we always turn more or less around the “Let’s make man” of Hobbes, that is, around the technical transformation of a material given. Or to say it otherwise: the creation of an oeuvre from crude and imperfect elements, an oeuvre thought like a masterpiece – that is to say, one that contains within it an idea of perfection and permanence – but doomed here to serial reproduction.

Working memory is a reconstructive process that requires integrating multiple hierarchical representations of objects. This hierarchical reconstruction allows us to overcome perceptual uncertainty and limited cognitive capacity but yields systematic biases in working memory as individual items are influenced by the ensemble statistics of the scene, or of their particular group. Given the importance of the hierarchical encoding of a display, we aim to characterize what structures people use to encode visual scenes using a nonparametric data-driven approach. In Experiment 1, we examine visuospatial memory for locations by asking participants to recall the locations of objects in a serial reproduction task. We show that people report items in a more compact structure than they initially were and organize them into clustered spatial groups. In Experiment 2, we explicitly introduce discrete color groups, allowing us to test whether the color feature governs the spatial grouping. We find that the spatial structures were color-contingent. By analyzing color groups, we circumvent the grouping uncertainty in Experiment 1 and further reveal that people compress color groups into collinear structures with similar orientations and equidistant spacing. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Abstract We introduce and explore the potential of the serial communication method, a modification of the serial reproduction paradigm in which participants communicate their own thoughts. It affords participants more agency, more closely simulating real communication. We specifically examined the transmission of the focus of comparison in explanations of gender inequality, a consequential form of equivalency framing. Participants in Wave 1 (n = 86) read about women being underrepresented (focus on women) or men being overrepresented in leadership (focus on men), then explained this difference. Participants in Wave 2 (n = 208) and Wave 3 (n = 199) then read randomly selected explanations from the preceding wave before giving their own explanations. The initial focus affected subsequent communication and was partially transmitted to Wave 2, but not Wave 3. We discuss implications and the value of the method for research on the framing of inequality, cultural transmission, and competing frames.

ABSTRACT Frederic Bartlett’s schema theory is still widely misunderstood as claiming that remembering is inevitably unreliable. However, according to the logic of his schema theory, remembering should, in relation to certain kinds of material, be relatively reliable. In this study we examined whether a “well-worn” urban myth (the Vanishing Hitchhiker) could be exempt from the fate of other material used in Bartlett’s own research on serial reproduction. Supporting Bartlett’s ideas, we found that recall of the Hitchhiker story was better (if not perfect) over a series of five reproductions than recall of the classic War of the Ghosts. Recall was also better for a strict (as opposed to a lenient) audience, in line with another prediction from Bartlett’s social theory of remembering. Notwithstanding this, we conclude with some critical remarks on the serial reproduction method as an approach to cultural memory.

ABSTRACT We conducted the largest multiple-iteration retelling study to date (12,840 participants and 19,086 retellings) with two different studies that test how emotional appraisals are transmitted across retellings. We use a novel Bayesian model that tracks changes across retellings. Study 1 examines the preservation of appraisals of happy and sad stories and finds that retellings preserve the story’s degree of happiness and sadness even when length shrinks and aspects of story coherence and rationalisation deteriorate. Study 2 compared the transmission of appraisals of happiness and sadness with embarrassment, disgust, and risk. Appraisals of happiness, sadness, and also embarrassment showed high appraisal preservation, while disgust and risk were not well preserved. We conclude that participants in our studies encoded happy and sad stories by encapsulating the events and details into an overall emotional appraisal of the story and that this processing strategy might also apply to stories involving other emotions like embarrassment. The emotional appraisal played a key role in retelling by helping to guide the selection, invention, and ordering of the story elements. Hence, we posit that emotion appraisals can operate as anchors for remembering and retelling stories, thus playing an important role in narrative communication.

October 21 2021 African Masking Systems: An Archive Of Social Commentary Samuel Nortey, Samuel Nortey Samuel Nortey is an artist and an associate professor in the Department of Industrial Art (Ceramics Section), Kwame Nkrumah University of Science and Technology (KNUST), Ghana. He holds a PhD in African Art and Culture. He is a multicultural fellow of the National Council for Education of the Ceramic Arts (NCECA) and has worked with several art centers in Ghana developing the frontiers of art production. Nortey's publications are in ceramic art, art history, art education and issues of contemporary art. He has been involved in many local and international exhibitions and reviews. snortey.art@knust.edu.gh Search for other works by this author on: This Site Google Scholar Edwin K. Bodjawah, Edwin K. Bodjawah Edwin Kwesi Bodjawah is an artist, associate professor in the Department of Painting and Sculpture, KNUST, and the coordinator of the Opoku Ware II Museum at KNUST. He is a principal trustee and patron of blaxTARLINES, KUMASI. Through decommissioned materials he researches serial reproduction of African mask forms. Search for other works by this author on: This Site Google Scholar Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu (Castro) is a cofounder and the administrative director of blaxTARLINES, KUMASI. He is a senior lecturer at the famed Fine Art Department of KNUST, Kumasi, Ghana, where he, and other colleagues, have pioneered revolutionary changes in fine art pedagogy, turning out emerging artists who are making waves worldwide. Search for other works by this author on: This Site Google Scholar Author and Article Information Samuel Nortey Samuel Nortey is an artist and an associate professor in the Department of Industrial Art (Ceramics Section), Kwame Nkrumah University of Science and Technology (KNUST), Ghana. He holds a PhD in African Art and Culture. He is a multicultural fellow of the National Council for Education of the Ceramic Arts (NCECA) and has worked with several art centers in Ghana developing the frontiers of art production. Nortey's publications are in ceramic art, art history, art education and issues of contemporary art. He has been involved in many local and international exhibitions and reviews. snortey.art@knust.edu.gh Edwin K. Bodjawah Edwin Kwesi Bodjawah is an artist, associate professor in the Department of Painting and Sculpture, KNUST, and the coordinator of the Opoku Ware II Museum at KNUST. He is a principal trustee and patron of blaxTARLINES, KUMASI. Through decommissioned materials he researches serial reproduction of African mask forms. Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu (Castro) is a cofounder and the administrative director of blaxTARLINES, KUMASI. He is a senior lecturer at the famed Fine Art Department of KNUST, Kumasi, Ghana, where he, and other colleagues, have pioneered revolutionary changes in fine art pedagogy, turning out emerging artists who are making waves worldwide. Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (4): 52–63. https://doi.org/10.1162/afar_a_00612 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Samuel Nortey, Edwin K. Bodjawah, Kwaku Boafo Kissiedu; African Masking Systems: An Archive Of Social Commentary. African Arts 2021; 54 (4): 52–63. doi: https://doi.org/10.1162/afar_a_00612 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search African masking systems have the potential to contribute to the conversation around the relationship between contemporary art and providing an archive of social commentary. In precolonial times and in geographical locations across Africa, these masking systems connect and integrate cultural practices and the infrastructure of these communities. Nortey, Bodjawah, and Kissiedu (2019) have explained that most African masks were not used in isolation, as mere objects offering visual pleasure, but were part of ceremonies that were cross-genre in nature, often embedded with layers of history, politics, and other important provenances. These African sculptures come alive in a variety of exhibition spaces; every member of the audience is engaged in the discussion or documentation of history through the communal nature of these masking ceremonies. History also chronicles the significance and contribution of the environment... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

Memory rarely replicates exactly what we see; instead, it reconstructs past experiences with distortions and errors. In some cases, memories lose their clarity and detail as time passes; in other cases, however, memories “add” details that weren’t originally there. Though such biases are more commonly associated with naturalistic visual scenes (which may recruit higher-level knowledge or schemas), here we show how memory adds content to even the simplest of stimuli: ordinary geometric shapes. We generated a library of smooth-edged shapes, and manipulated their complexity by gradually simplifying their skeletal structure — essentially altering the “amount of information” in the shapes. On each trial of Experiment 1, subjects saw a novel shape; after a brief delay, a version of the same shape appeared at a different level of complexity, and subjects’ task was to “adjust” the new shape to match the one they had just seen, using a slider that altered the adjustable shape’s complexity. Surprisingly, subjects consistently misremembered the shapes as more complex than they really were (i.e., the shapes they produced had increasingly informationally-dense skeletons). Experiment 2 showed that this finding emerges even at wider ranges of complexity, and Experiment 3 expanded this phenomenon further using the method of serial reproduction. In a “telephone game”, one observer’s recalled shape became the presented shape of the next observer, and so on; these reproduction chains amplified our observed complexity biases, such that 300 observers’ chains converged onto shapes much more complex than had initially been presented. Finally, Experiment 4 ruled out certain forms of strategic responding, finding that the patterns remained no matter the subject’s guess about the effect’s expected direction. These findings reveal a new “complexity bias”, whereby even the most basic units of visual processing are remembered as being more information-dense than they really are.

ABSTRACT On the surface, contemporary urban megaprojects suggest a convergence in form: office towers, hotels, museums, shopping and renewed public spaces often involving transnational firms and renowned architectsHowever, framing local policiesas instances of a ‘serial reproduction’ of iconic landscapes obscures more than reveals how circulating planning models are reproduced and institutionalized. To this effect, this paper suggests a complementary approach between the literature of policy mobilities and new institutionalism focusing on how policies are ‘arrived at’ and the role of ideas in the policy process. An analytical framework is applied to the case study of a large-scale waterfront regeneration programme in Rio de Janeiro to examine the mutual evolvement between ideas, interests and institutions. The paper concludes by stressing the importance ofpaying attention to how policy knowledge is assembled, institutionalized and interests identified.