This study examined the effects of repetition and spacing of repetitions on amnesia patients' recognition and recall of a list of words. Like controls, amnesia patients recognized items better when repetitions were spaced compared with when they were massed. This finding was attributed to the additional rehearsal that distributed presentations typically encourage. Amnesia patients also showed normal spacing effects in a recall task, suggesting that they were able to benefit from the variable encoding that spaced repetitions allow to establish additional retrieval cues. However, even though instructions to encode repeated items in a variable manner enhanced massed presentations to the point where spacing no longer produced an advantage for the normal controls, it did not have a similar effect for the amnesia patients. This led to the conclusion that amnesia patients cannot take advantage of strategically provided opportunities to enhance their variable encoding of interitem associations. Instead, it is suggested that the automatic activation of different aspects of items and interitem associations is responsible for the spacing effect in their recall.The ability of amnesia patients to demonstrate enhanced performance on the second occurrence of an item has been investigated extensively in the context of implicit memory tasks. Beneficial effects of repetition have been demonstrated on tasks of perceptual identification (Cermak, Talbot, Chandler,

Late nineteenth-century psychologists and aestheticians were fascinated by the study of psychological and physiological aspects of aesthetic response, and the British intellectual and aesthete Vernon Lee was a major participant in this venture. Working outside the academy, Lee conducted informal experiments with Clementina Anstruther-Thomson, recording changes in respiration, balance, emotion, and body movements in response to aesthetic form. In fashioning her aesthetics of empathy, she mined a wealth of psychological theories of the period including motor theories of mind, physiological theories of emotion, evolutionary models of the usefulness of art, and, most prominently, the empathic projection of feeling and movement into form. Lee distributed questionnaires, contributed to scientific journals, carried out her own introspective studies, and debated aesthetics with leading psychologists. This paper critiques the prevailing view of Lee's aesthetics as a displaced sign of her gender or sexuality, and questions her status as simply an amateur in the field of psychology. Instead, I argue that Lee's empirically based empathy theory of art was a significant contribution to debates on psychological aesthetics at the outset of the twentieth century, offering a synthesis of Lipps's mentalistic Einfühlung and sensation-based imitation theories of aesthetic response.

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