4 found
John B. Davies [3]John Booth Davies [1]
  1.  59
    Subjective Experience and the Attentional Lapse: Task Engagement and Disengagement During Sustained Attention.Jonathan Smallwood, John B. Davies, Derek Heim, Frances Finnigan, Megan Sudberry, Rory O'Connor & Marc Obonsawin - 2004 - Consciousness and Cognition 13 (4):657-690.
    Three experiments investigated the relationship between subjective experience and attentional lapses during sustained attention. These experiments employed two measures of subjective experience to examine how differences in awareness correspond to variations in both task performance and psycho-physiological measures . This series of experiments examine these phenomena during the Sustained Attention to Response Task . The results suggest we can dissociate between two components of subjective experience during sustained attention: task unrelated thought which corresponds to an absent minded disengagement from the (...)
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    New Curvature-Torsion Relations Through Decomposition of the Bianchi Identities.John B. Davies - 1988 - Foundations of Physics 18 (5):563-569.
    The Bianchi Identities relating asymmetric curvature to torsion are obtained as a new set of equations governing second-order curvature tensors. The usual contribution of symmetric curvature to the gravitational field is found to be a subset of these identities though with an added contribution due to torsion gradients. The antisymmetric curvature two-tensor is shown to be related to the divergence of the torsion. Using a model of particle-antiparticle pair production, identification of certain torsion components with electroweak fields is proposed. These (...)
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  3. Shaun Gallagher, Jesper Brøsted Sørensen. Experimenting with Phenomenology.Jonathan Smallwood, Leigh Riby, Derek Heim, John B. Davies, Julia Fisher, Elliot Hirshman, Thomas Henthorn, Jason Arndt, Anthony Passannante & Susan Pockett - 2005 - Consciousness and Cognition 14:645-646.
  4. The Psychology of Music.John Booth Davies - 1979 - Journal of Aesthetics and Art Criticism 37 (3):379-380.