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Twenty acquisition curves were obtained from each of 8 pigeons in a free-operant choice procedure. Every condition began with a phase in which two response keys had equal probabilities of reinforcement, and, as a result, subjects’ responses were divided fairly evenly between the two keys. This was followed by a phase in which one key had a higher probability of reinforcement than the other, and the development of preference was observed. In all but a few cases, response proportions increased for the key with the higher probability of reinforcement. In most conditions, the two probabilities differed by .06, but the actual probabilities varied (from .16 and .10 in one condition to .07 and .01 in another). Development of preference for the key with the higher probability of reinforcement was slower when the ratio of the two reinforcement probabilities was small (.16/.10) than when it was large (.07/.01). This finding is inconsistent with the predictions of several different quantitative models of acquisition, including the kinetic model (Myerson & Miezin, 1980) and the ratio-invariance model (Horner & Staddon, 1987). However, the finding is consistent with a hypothesis based on Weber’s law, which states that the two alternatives are more discriminable when the ratio of their reinforcement probabilities is larger, and, as a result, the acquisition of preference is faster. 相似文献
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In recent years, many international initiatives have sparked a debate on guidelines and criteria for documenting existing installations and environments. Nevertheless, a comparison between those environments, and lost or reproduced ones, still needs to be closely considered. This becomes even more interesting in the case of works that were made by artists no longer alive. Starting from the study on Italian artist Lucio Fontana's historical environments, we show how a historically accurate reconstruction, based on the analysis of various sources (original documents, letters, articles, interviews and videos, as well as critical essays) can be considered as a conservation strategy for works that were originally created as ‘ephemeral’, but later became fundamental within art history. The data and metadata can be used as a second step for the reconstruction of the environments, creating ‘replicas’ that closely mimic the artist's intent and that can then be documented and properly preserved. On one hand, the outcomes of the research presented is that of understanding to what extent it is possible to achieve a fair rendition of Fontana's environments and thus foster their proper appreciation. On a second and more practical level, we will present a study of the first exhibition centered on the reproduction of the artist's environments, which will be held in HangarBicocca, Milan, Italy, in 2017. A scientific and philological approach will allow us to fully respect the original artworks and the context in which they were produced. The reconstruction will also be the occasion to collect data regarding the materials that Fontana used extensively, and to gather information about the companies that produced them, as well as about the past and present quality of such materials, and the possibility of reproducing them today. This approach seeks to investigate the interplay between theory and reconstruction materiality through the double lens of historical research, on one hand, and contemporary conservation and museology debates on the other. 相似文献
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Minerva - Scientific epistemology is a topic that has sparked centuries of philosophical discourse. In particular, understanding the role that scientists play in the creation and perpetuation of... 相似文献
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