title: Motivation, constraint and association: an analysis of Killeen's (1994) mathematical principles of reinforcement.

authors: Armstrong, Rebecca Theresa

subjects: mathematical principles of reinforcement

abstract: Mathematical principles of reinforcement (MPR; Killeen, 1994) is a useful model for predicting and describing behaviour. MPR is based upon three general principles represented by three independent parameters in the model: (1) incentives elicit responses and the quality or amount of a reinforcer will effect organisms arousal and motivation to work for that particular reinforcer (specific activation; a in the model), (2) there are time and energy constraints on responding resulting in ceilings on response rates (constraint; δ), and (3) reinforcement only occurs to the extent that responses are associated with reinforcers (Coupling; c.). This experiment tested the ability of MPR to predict response rates when the minimum force requirement to make a response and the reinforcer duration was increased. Five hens responded on a geometric fixed ratio (FR) schedule in three conditions; low force requirement, small reinforcer (0.24 N, 2-s access), high force requirement, small reinforcer (1.1 N, 2-s access) and high force requirement, large reinforcer (1.1 N, 4-s access). Response rates were well described by a bitonic function as predicted. Response rates were higher and the hens ceased responding at higher FR values when the force requirement was low. Constraint (δ) was not significantly affected by the increase in force requirement. Interestingly, estimates of a were most effected by the increase in force requirement. Estimates of a were not affected by the increase in the magnitude of the reinforcer. It was concluded that doubling the incentive value may require more than doubling the amount of reinforcement. Additionally, there may be a need to distinguish between time to make a response and effort required with the latter impacting more on the motivation of the organism.

text: Motivation, constraint and association: an analysis of Killeen's (1994) mathematical principles of reinforcement. Mathematical principles of reinforcement (MPR; Killeen, 1994) is a useful model for predicting and describing behaviour. MPR is based upon three general principles represented by three independent parameters in the model: (1) incentives elicit responses and the quality or amount of a reinforcer will effect organisms arousal and motivation to work for that particular reinforcer (specific activation; a in the model), (2) there are time and energy constraints on responding resulting in ceilings on response rates (constraint; δ), and (3) reinforcement only occurs to the extent that responses are associated with reinforcers (Coupling; c.). This experiment tested the ability of MPR to predict response rates when the minimum force requirement to make a response and the reinforcer duration was increased. Five hens responded on a geometric fixed ratio (FR) schedule in three conditions; low force requirement, small reinforcer (0.24 N, 2-s access), high force requirement, small reinforcer (1.1 N, 2-s access) and high force requirement, large reinforcer (1.1 N, 4-s access). Response rates were well described by a bitonic function as predicted. Response rates were higher and the hens ceased responding at higher FR values when the force requirement was low. Constraint (δ) was not significantly affected by the increase in force requirement. Interestingly, estimates of a were most effected by the increase in force requirement. Estimates of a were not affected by the increase in the magnitude of the reinforcer. It was concluded that doubling the incentive value may require more than doubling the amount of reinforcement. Additionally, there may be a need to distinguish between time to make a response and effort required with the latter impacting more on the motivation of the organism.

year: 2015

title: Can neuroscience construct a literate gendered culture?

authors: Whitehead, David

subjects: gender

abstract: The construction of boys as a gendered culture is not usually associated with neuroscience. Exceptions are publications and presentations by consultants on boys’ education who adopt a “brain-based” perspective. From a neuroscience perspective, my analysis indicates the selective use of primary neuroscience research to construct and perpetuate generalisations and stereotypic representations of boys as a gendered culture. In this article I draw on data obtained over 12 months from a boys’ school that engaged a consultant on boys’ education. The consultant selectively used neuroscience to construct a hegemonic discourse that constructed boys as a gendered culture. I analyse the consultant’s professional learning sessions, question the veracity of populist claims presented to teachers and indicate the degree to which this discourse about boys’ literacy ability and behaviour influenced the school as they revised their language policy and made commercial decisions. My observations suggest that, over the course of a year, the school uncritically accepted sufficient popular interpretations of primary neuroscience research to fulfil their intention of building a marketable, gendered school culture. I further note the existence of a parallel cognitive discourse around principles of learning that influenced teacher pedagogy. These two discourses allowed the school to meet its aims of i) building a gendered educational culture at a school for boys, ii) placing the school in a competitive education market (both primarily based on the discourse of neuroscience) and iii) meeting the educational needs of their students (based primarily on the discourse of cognitive psychology).

text: Can neuroscience construct a literate gendered culture? The construction of boys as a gendered culture is not usually associated with neuroscience. Exceptions are publications and presentations by consultants on boys’ education who adopt a “brain-based” perspective. From a neuroscience perspective, my analysis indicates the selective use of primary neuroscience research to construct and perpetuate generalisations and stereotypic representations of boys as a gendered culture. In this article I draw on data obtained over 12 months from a boys’ school that engaged a consultant on boys’ education. The consultant selectively used neuroscience to construct a hegemonic discourse that constructed boys as a gendered culture. I analyse the consultant’s professional learning sessions, question the veracity of populist claims presented to teachers and indicate the degree to which this discourse about boys’ literacy ability and behaviour influenced the school as they revised their language policy and made commercial decisions. My observations suggest that, over the course of a year, the school uncritically accepted sufficient popular interpretations of primary neuroscience research to fulfil their intention of building a marketable, gendered school culture. I further note the existence of a parallel cognitive discourse around principles of learning that influenced teacher pedagogy. These two discourses allowed the school to meet its aims of i) building a gendered educational culture at a school for boys, ii) placing the school in a competitive education market (both primarily based on the discourse of neuroscience) and iii) meeting the educational needs of their students (based primarily on the discourse of cognitive psychology).

year: 2011-07

title: !!!FR33D0M 0FF SP33CH!!!

authors: Smith, Hugh Lyal

subjects: Poetry

abstract: My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

text: !!!FR33D0M 0FF SP33CH!!! My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

year: 2021