Associative priming in color naming: Interference and facilitation

In Experiment 1, color-naming interference for target stimuli following associated primes was greater in a group making a lexical decision to the prime than in a group reading the prime silently. High-frequency targets were responded to more quickly than low-frequency targets. In Experiment 2, with subjects naming the prime, there was evidence of associative interference when the prime and the target were grouped temporally but not when the intertrial interval was comparable with the prime-target interval. Associative primes presented at a short (120-msec) prime-target stimulus onset asynchrony facilitated color naming in Experiment 3. Taken together, the results suggest that the effect of faster processing of the base word in a color-naming task is facilitatory and that color-naming priming interference arises when associative prime processing increases conflict between word and color responses by enhancing phonological or articulatory activation of the base word.

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.

Separating politics and scientific research on heroin prescription - In reply [Letter]

No Abstract