Central mechanisms in the perception of reward

The perception of reward is crucial in many psychological processes. Wise (1982) has suggested that the neurotransmitter dopamine is involved in producing 'hedonic' responses to rewards. Dopamine is also involved in the control of movement and hunger. Testing dopamine's role in reward perception is therefore complicated by these other actions; the effects of manipulations can often be interpreted as actions on hunger or motor control, rather than on reward. Two methods are described in this thesis which isolate reward effects. The effects of dopaminergic drugs on the rewarding impact of exploration were investigated. The use of exploration eliminates the influence of hunger, while the impact of motor deficits was reduced by using choice measures. Control experiments assessed effects on activity and emotionality. Results indicated that dopamine was involved in exploratory reinforcement independently of its roles in hunger or simple motor control. Tests of whether dopamine is involved in hedonia, or merely in engaging responses to reinforcers, used the 'behavioural contrast' paradigm. Contrast occurs when animals over-react to unexpected changes in reinforcement and allow response elicitation effects to be dissociated from effects on hedonia. Although the dopamine anatagonist a-flupenthixol did not affect contrast induced by changes in reinforcement value, the introduction or withdrawal of the drug could, itself, induce contrast effects. It is concluded that dopamine is involved in hedonia independently of any involvement in response elicitation. A speculative model of the nature of dopamine’s involvement in hedonia is proposed and its implications for our understanding of Parkinson’s disease and schizophrenia, in which dopamine dysfunctions are implicated, are discussed

Archive of Darkness:William Kentridge's Black Box/Chambre Noire

Situating itself in histories of cinema and installation art, William Kentridge's Black Box/Chambre Noire (2005) raises questions about screens, exhibition space, site-specificity and spectatorship. Through his timely intervention in a debate on Germany’s colonial past, Kentridge’s postcolonial art has contributed to the recognition and remembrance of a forgotten, colonial genocide. This article argues that, by transposing his signature technique of drawings for projection onto a new set of media, Kentridge explores how and what we can know through cinematic projection in the white cube. In particular, his metaphor of the illuminated shadow enables him to animate archival fragments as shadows and silhouettes. By creating a multi-directional archive, Black Box enables an affective engagement with the spectres of colonialism and provides a forum for the calibration of moral questions around reparation, reconciliation and forgiveness

Seven fragments for Georges Méliès, Day for Night and Journey to the Moon

"With Journey to the Moon Kentridge pays homage to French director Georges Méliès’ classic Voyage dans la Lune (1902), also on view at the gallery and widely considered cinema’s first science fiction film. Combining live action and stop motion animation, Journey to the Moon in part pictures the creative process as Kentridge performs for the camera, playing the scientist/artist who dreams of worlds afar but ultimately cannot escape." -- Publisher's website

Damned squares of this shameless city

William Kentridge is a South African artist best known for his prints, drawings, and animated films. These are constructed by filming a drawing, making erasures and changes, and filming it again. He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds of screen time. These palimpsest like drawings are later displayed along with the films as finished pieces of art. (Tate Modern, London, 2016

2nd Hand Reading

1 volume (various pagings) : color illustrations. Reproduction of an altered book created by drawing and painting in a copy of The shorter Oxford English dictionary on historical principles, Second Edition, volume I, A-M, 1936. Curated title for Fleet Library Special Collections exhibition Altered, summer 2022.https://digitalcommons.risd.edu/specialcollections_books_illustration/1030/thumbnail.jp