ABSTRACTMetaphors frequently link negative affect with darkness and associations of this type have been established in several experimental paradigms. Given the ubiquity and strength of these associations, people who prefer dark to light may be more prone to negative emotional experiences and symptoms. A five study investigation couches these ideas in a new theoretical framework and then examines them. Across studies, 1 in 4 people preferred the perceptual concept of dark over the perceptual concept of light. These (...) class='Hi'>dark-preferring people scored higher in neuroticism and experienced greater depressive feelings in daily life. Moreover, dark preferences shared a robust relationship with depressive symptoms as well as generalised anxiety symptoms. The results provide novel insights into negative affectivity and extend conceptual metaphor theory in a way that is capable of making individual difference predictions. (shrink)

© 2016 Regents of the University of California.The Review summarizes much of particle physics and cosmology. Using data from previous editions, plus 3,062 new measurements from 721 papers, we list, evaluate, and average measured properties of gauge bosons and the recently discovered Higgs boson, leptons, quarks, mesons, and baryons. We summarize searches for hypothetical particles such as supersymmetric particles, heavy bosons, axions, dark photons, etc. All the particle properties and search limits are listed in Summary Tables. We also give (...) numerous tables, figures, formulae, and reviews of topics such as Higgs Boson Physics, Supersymmetry, Grand Unified Theories, Neutrino Mixing, Dark Energy, Dark Matter, Cosmology, Particle Detectors, Colliders, Probability and Statistics. Among the 117 reviews are many that are new or heavily revised, including those on Pentaquarks and Inflation. The complete Review is published online in a journal and on the website of the Particle Data Group. The printed PDG Book contains the Summary Tables and all review articles but no longer includes the detailed tables from the Particle Listings. A Booklet with the Summary Tables and abbreviated versions of some of the review articles is also available. (shrink)

We present a one per cent measurement of the cosmic distance scale from the detections of the baryon acoustic oscillations in the clustering of galaxies from the Baryon Oscillation Spectroscopic Survey, which is part of the Sloan Digital Sky Survey III. Our results come from the Data Release 11 sample, containing nearly one million galaxies and covering approximately 8500 square degrees and the redshift range 0.2 < z < 0.7. We also compare these results with those from the publicly released (...) DR9 and DR10 samples. Assuming a concordance Λ cold dark matter cosmological model, the DR11 sample covers a volume of 13 Gpc3 and is the largest region of the Universe ever surveyed at this density. We measure the correlation function and power spectrum, including density-field reconstruction of the BAO feature. The acoustic features are detected at a significance of over 7σ in both the correlation function and power spectrum. Fitting for the position of the acoustic features measures the distance relative to the sound horizon at the drag epoch, rd, which has a value of rd,fid = 149.28 Mpc in our fiducial cosmology. We find DV = at z = 0.32 and DV = at z = 0.57. At 1.0 per cent, this latter measure is the most precise distance constraint ever obtained from a galaxy survey. Separating the clustering along and transverse to the line of sight yields measurements at z = 0.57 of DA = and H =. Our measurements of the distance scale are in good agreement with previous BAO measurements and with the predictions from cosmic microwave background data for a spatially flat CDM model with a cosmological constant. © 2014 The Author Published by Oxford University Press on behalf of the Royal Astronomical Society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 73-79 [Access article in PDF] Does Film Weaken Spectator Consciousness? R.D. Boyd and S.K. Wertz The role of spectator is crucial for an actor, for there are "no actors without spectators." 1 At times the success of the actor depends upon the role taken by the spectator. Thornton Wilder's "Our Town" depends upon an active,creative, involved audience. Other artists expect their audience (...) to be passive,almost unconscious. Whether the medium of creativity is film or the printedpage, examples of both dependencies abound. The focus of this essay is ona classic piece in the literature about film. In the Theory of Film, Siegfried Kracauer provides us with a mesmerizing printed discussion of film. 2 In this essay we wish to examine his reasoning that is in a self-contained argument by analogy. Since Kracauer does not use or mention the argument thereafter, we feel that we can isolate the argument from its context and deal with it as it stands. After an extended analysis of the argument, we will relate some of the points to the literature on film. The following analogical argument is our focus. Films...tend to weaken the spectator's consciousness. Its withdrawal from the scene may be furthered by the darkness in moviehouses. Darkness automatically reduces our contacts with actuality, depriving us of many environmental data needed for adequate judgments and other mental activities. It lulls the mind....Devotees of film and its opponents alike have compared the medium to a sort of drug and have drawn attention to its stupefying effects....Doping creates dope addicts. It would seem a sound proposition that the cinema has its habitues who frequent it out of an all but physiological urge. They are not prompted by a desire to look at a specific film or to be pleasantly entertained; what they really crave is for once to be released from the grip of consciousness, lose their identity in the dark, and let sink in, [End Page 73] with their senses ready to absorb them, the images as they happen to follow each other on the screen. 3To support his main point, "Films...tend to weaken the spectator's consciousness," Kracauer develops three intermediate arguments (IA's), which support his major argument (MA). If each sentence in the above passage were numbered one through nine, with the last full sentence being broken into two sentences at the semicolon, the following schema emerges. In English the chain of reasoning is: IA-1 Some habitues of film are not prompted by a desire to look at a specific film or to be pleasantly entertained. What they really crave is release fromthe grip of consciousness, to lose their identity in the dark, and let sink in, with their senses ready to absorb them, the images as they happen to follow each other on the screen. Therefore, the cinema has its habitues who frequent it out of an all but physiological urge.IA-2 Some habitues of film frequent it out of an all but physiological urge. Doping creates dope addicts. Therefore, devotees of film and its opponents alike have compared the medium to a sort of drug and have drawn attention to its stupefying effects.IA-3 Darkness automatically reduces our contacts with actuality, depriving us of many environmental data needed for adequate judgments and other mental activities. Darkness lulls the mind. Therefore, consciousness withdrawal from the scene may be furthered by the darkness in moviehouses.MA Devotees of film and its opponents alike have compared the medium to a sort of drug and have drawn attention to its stupefying effects. Consciousness withdrawal from the scene may be furthered by the darkness in moviehouses. Therefore, films...tend to weaken the spectator's consciousness. The above chain of arguments influences us, the spectators, to embrace his main point. However, before we are lulled into accepting his reasoning, it will be helpful to examine and evaluate each link. [End Page 74]IA-1 Some habitues of film are not prompted by a desire to... (shrink)

In the context of the blurring of boundaries between club and theatre, game and theatre, and party and theatre, experiential spectatorship is spilling into the mainstream. This article starts from the recognition of the rapid rise of the experience economy as a turning point in consumer culture towards a specific appeal to the sensory body. The definition of experience in this analysis is key and a distinction is made between experience as it passes moment by moment, erlebnis, and experience as (...) something that is cumulatively built up over time, erfahrung. This paper asks, in a society defined by the crisis of experience, does this rise of the experiential in theatre simply reflect the reduction of experience to a series of consumable sensory moments or is there a mode of experience modelled through performance interaction which moves both beyond this established mode of experience and also beyond the notion of experience as cumulatively formed wisdom? Drawing a parallel between established popular cultural practices of the body and those of the spectator in spectacular promenade performance, Fuerzabruta is used as an illustrative example of popular experiential performance and Hwang’s The Road as an example of experiential performance in which a transformative aesthetic is made possible. (shrink)

R. G. Collingwood (1889–1943) had several arguments that analyzed race in history and anthropology. These appear mainly in Roman Britain (both in theory and practice of history), The Idea of History, and The Principles of History. This latter work, which is fairly new to Collingwood scholarship (1999), contains the most important arguments. Collingwood argued that race is grounded in the historical process and this includes a people's environment, more so than genetics or evolution. He used the nature of art as (...) an example in his main argument. This spills over in his view of anthropology—in particular physical anthropology that was influenced by John Beddoe. His view is contrasted with Claude Lévi-Strauss who held that physical anthropology is at the forefront of social or cultural anthropology which follows its lead. Whereas Collingwood held that in studying blood types, skulls, and bones, 'one does not get inside the object or recreate its object inside itself.' Consequently, cultural anthropology will always provide the key to racial considerations. What is revealed is that emotions and rationality are the same across cultures; also, that superiority/inferiority claims about race are mythical and lead us into darkness and superstition. (shrink)

A crucial debate currently raging in the fields of cognitive and social science centers around general and specific approaches to understanding the actions of others. When we understand the actions of another person, do we do so on the basis of a general theory of psychology, or on the basis of an effort to place ourselves in the particular position of that specific person? Hans Herbert Kögler and Karsten R. Stueber's Empathy and Agency addresses this other issues vital to current (...) social science in an advanced and diverse analysis of the foundations of social-scientific methodology based on recent cognitive psychology. The book serves as both an introduction to the debate for non-academic audiences and as a catalyst for further discussion for serious theorists. Empathy and Agency provides a solid foundation of the fundamental issues in social and cognitive science, but also presents the most influential paradigms in the field at this time. (shrink)

In this paper Popper formulates and discusses a new aspect of the theory of mind. This theory is partly based on his earlier developed interactionistic theory. It takes as its point of departure the observation that mind and physical forces have several properties in common, at least the following six: both are located, unextended, incorporeal, capable of acting on bodies, dependent upon body, capable of being influenced by bodies. Other properties such as intensity and extension in time may be added. (...) It is argued that a fuller understanding of the nature of forces is essential for the analysis of the mind-brain problem. The relative autonomy and indeterministic nature of mind is stressed. Indeterminism is treated in relation to a theorem of Hadamard. The computer theory of mind and the Turing test are criticized. Finally the evolution of mind is discussed. (shrink)

A Pali Grammar. William Geiger. Translated into English by Batakrishna Ghosh, revised and edited by K. R. Norman. Pali Text Society, Oxford 1994. xxix, 220 pp. Hardback £12.95, paperback £6.75.

Dhammapada. Ed. O. von Hinüber and K.R. Norman. Pali Text Society, Oxford 1994. xv, 148 pp. £10.95.