Seventeenth-century optics naturalizes the eye while estranging the mind from objects. A mere screen, on which rests a blurry array of light stains, the eye no longer furnishes the observer with genuine re-presentations of visible objects. The intellect is thus compelled to decipher flat images of no inherent epistemic value, accidental effects of a purely causal process, as vague, reversed reflections of wholly independent objects. Reflecting on and trespassing the boundaries between natural and artificial, orderly and disorderly, this optical paradox (...) is a Baroque phenomenon; and it is the origin of Descartes’ celebrated doubt---whether we know anything at all. (shrink)

Difficulties understanding speech form one of the most prevalent complaints among older adults. Successful speech perception depends on top-down linguistic and cognitive processes that interact with the bottom-up sensory processing of the incoming acoustic information. The relative roles of these processes in age-related difficulties in speech perception, especially when listening conditions are not ideal, are still unclear. In the current study, we asked whether older adults with a larger working memory capacity process speech more efficiently than peers with lower capacity (...) when speech is presented in noise, with another task performed in tandem. Using the Eye-tracking of Word Identification in Noise Under Memory Increased Load an adapted version of the “visual world” paradigm, 36 older listeners were asked to follow spoken instructions presented in background noise, while retaining digits for later recall under low or high memory load. In critical trials, instructions directed listeners’ gaze to pictures of objects whose names shared onset or offset sounds with the name of a competitor that was displayed on the screen at the same time. We compared listeners with different memory capacities on the time course for spoken word recognition under the two memory loads by testing eye-fixations on a named object, relative to fixations on an object whose name shared phonology with the named object. Results indicated two trends. For older adults with lower working memory capacity, increased memory load did not affect online speech processing, however, it impaired offline word recognition accuracy. The reverse pattern was observed for older adults with higher working memory capacity: increased task difficulty significantly decreases online speech processing efficiency but had no effect on offline word recognition accuracy. Results suggest that in older adults, adaptation to adverse listening conditions is at least partially supported by cognitive reserve. Therefore, additional cognitive capacity may lead to greater resilience of older listeners to adverse listening conditions. The differential effects documented by eye movements and accuracy highlight the importance of using both online and offline measures of speech processing to explore age-related changes in speech perception. (shrink)

This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...) formalism”, focusing on the thinking of leading aestheticists, Walter Pater, Oscar Wilde, and James Whistler. These three thinkers defined artwork as a form saturated with an inextricable content, viz. opaque form. (shrink)

The paper reconstructs Hegel’s account of shame as a fundamental affect. Qua spiritual, the human individual strives for self-determination; hence she is ashamed of the fact that, q...

A growing body of literature supports that fixed intelligence mindset promotes the emergence of maladaptive emotional reactions, especially when self-threat is imminent. Previous studies have confirmed that in adverse academic situations, students endorsing fixed intelligence mindset experience higher levels of negative emotions, although little is known about the mechanisms through which fixed intelligence mindset exerts its influence. Thus, the present study proposed to investigate self-esteem as a mediator of this relationship in two different cultural contexts, in Hungary and the United (...) States. Structural equation modeling revealed that self-esteem fully mediated the relationship between fixed intelligence mindset and negative emotions. Furthermore, results of the invariance testing conferred preliminary evidence for the cross-cultural validity of the mediation model. These findings suggest that, students adhering to fixed intelligence beliefs tend to experience greater self-esteem loss when experiencing academic failure, which leads to higher levels of negative emotions. (shrink)

In the past few decades, liberal and democratic thought has been subjected to attacks from the adherents of nationalism, populism, and social radicalism. Much of these attacks involve suspicions about liberalism’s association with the contents and purveyors of structured knowledge, scientific and humanistic alike. I suggest that an examination of the history of liberal beliefs may add to our understanding of what is at stake. Such an examination may reveal how liberal thought in the twentieth century shifted away from its (...) earlier individualist and constitutional position towards the pluralist position that grants a special place to educated knowledge, to experts and professionals, and thus invites allegations of elitism. In particular, I focus on the differences between the ideas that conventional liberal authors elaborated during early modernity and the nineteenth century, on the one hand, and the version of liberal values and the polity based on them that were tacitly adopted during the mid-twentieth century, on the other hand. The examination involves highlighting the common denominators of mid-century authors on right, left, and centre, such as Laski, Popper and Hayek, as well as asking what in their shared worldview could attract allegations of elitism from later generations. (shrink)

The paper develops a conception of marital love as a complex recognitive relation, which I articulate by juxtaposing it against other recognitive relations that figure in Hegel's theory of modern civil society (i.e., respect and esteem). Drawing on Hegel's early writings, I argue that, if love is to provide its unique sort of recognition, it must obtain between “living beings who are equal in power”—a peculiar form of equality that I name (drawing on Stanley Cavell's work) “dynamic equality.” I conclude (...) that it is by Hegel's own lights that we should reject his notorious conception of the sexual difference. However, I also offer reasons why, from Hegel's early 19th century perspective, he could consider the following two conditions as compatible: (1) equality within marriage and (2) sexual hierarchy outside marriage, namely, in civil society. (shrink)

An important aspect of the debate between the A-theory and the B-theory of time relates to the supposed implications of each for some of the most basic human attitudes and stances. The asymmetry in our attitudes towards past and future events in our life (pleasant and unpleasant), and towards the temporal limits of our existence, that is, toward birth and death, is supposedly considered differently by the two theories. I argue that our attitudes are neither justified nor discredited by anything (...) which is in debate between the A-Theory and the B-theory, and therefore that neither theory of time is supported by the asymmetry in our attitudes. (shrink)

In the Ethics,1 Spinoza presents a rigorous naturalistic view of man and nature. Man is a part of nature, a subject of the same domain—not a domain separate from it, nor a domain within that of nature. Man cannot act against nature or in an unnatural way; in comparison with any other part or creature of nature, man is not special, more important or qualitatively different. All general laws of nature apply equally to animals, inanimate objects, humans, God, the mind, (...) and the affects. Nature can be explicated based on necessary causes, and there are no extra-natural factors that affect it or anything in it: no supernatural power or metaphysical principles create or regulate it, and no separate methods of explanation .. (shrink)

A partir de l'idée de “ folie ” chez S. Paul , Fr. Le Gal explore le thème de “ la folie sainte de Dieu ” qui n'est autre que la révélation de son amour fou pour l'homme. Examinant tout d'abord la polysémie du terme, sa réflexion porte en première partie sur Jésus-Christ comme “ homme de la dérision et Dieu à la folie ”, examinant au passage la parabole comme lieu de l' “ ironie christique ”. Dans la seconde (...) partie, c'est Paul qui révèle le contenu à la fois christologique, théologique et spirituel de la folie dans la tension entre la scandale de la croix et le risque pour l'apôtre et le croyant de n'être pas reçus. C'est pourtant là que se manifestera la “ folie sainte ”.Beginning with the idea of 'folly " in St. Paul , Fr Le Gal explores the theme of "the holy folly of God " that is nothing other than the revelation of his mad love for man. Examining first of all the polysemy of the term, his reflection in the first part is on Jesus Christ as "man of derision and God of folly ", examining in passing the parable as the area of "christic irony ". In the second part, it is Paul who reveals, at the same time, the christological, theological, and spiritual content of folly in the tension between the scandal of the cross and the risk for the apostle and the believer not to be accepted. It is there, nevertheless, that the "holy folly " manifests itself. (shrink)

Chater & Loewenstein thoughtfully express their disillusionment with contemporary applied behavioral science, particularly as it pertains to public policy. Although they fault an overemphasis on i-frame approaches, their proposed alternatives leave doubt regarding whether behavioral science has much, if anything, useful to offer policy. We offer two critical principles to guide and motivate more relevant behavioral science.

The essay first succinctly points out shortcomings in previous interpretations of Plotinus’ notion of beauty. Beauty is to be connected primarily with Intellect, which is to be understood as a special unity in diversity. The section of the essay devoted to aesthetics is therefore preceded by a short analysis of Intellect’s unity and diversity. The hypothesis about the primary relation of beauty to the Intellect is then corroborated by a reading of Ennead V.8 and further developed. The emphasis is on (...) three basic aspects of beauty: its being a unity of a mixture whose character is shared by all ontological levels; its function of referring to what is above it; and its fundamental accessibility. Though Plotinus opposes the Stoic notion of beauty as symmetry and stresses beauty’s simplicity, it follows for him that beauty has the character of unitas multiplex, albeit a special one. (shrink)

In this paper I attempt to refute the instrumental conception of practical reason, and thus defend a rationalist conception of practical reason. I argue that, far from merely playing an instrumental role, reason can be used by an agent to evaluate, that is, to approve or reject, final ends, which might be suggested by desires, and further to determine final ends independently of any desires, whether actual or potential, that the agent might have. My argument relies on an analysis of (...) the concept of intention, and, more specifically, on the distinction between want and intention. I argue that the notion of an intentional action entails that reason can be used to evaluate and determine final ends. (shrink)

Contemporary philosophy can be characterized along the lines of a profound and vigorous debate between the prevalent ideas of 20th century philosophy’s linguistic–conceptualist age, on the one hand, and the re-emergent field of what we might call ‘visualist’ philosophy on the other hand, which is experiencing a revival within the framework of the current visual turn in philosophy. Thoughtful Images: Illustrating Philosophy through Art by Thomas E. Wartenberg stands at the intersection of these two camps. The philosophical visual turn foregrounds (...) the importance of the visual sphere, and it is this sphere with which Wartenberg engages. Investigating the genre of philosophical images throughout history, Wartenberg’s significant book joins the controversy between the characterization of humans as linguistic–conceptual or rather as visual beings. Do we reach intellectual superiority only through linguistic–conceptual schemes, or, rather, is it the richness of visuality and its level of detail – which can never be fully captured by language – that allows us a true glimpse of our reality and our very selves? I shall later claim that Wartenberg falls on the linguistic–conceptualist side of the polemic. But, a concrete example that may actually support the visualist perspective is found in the book’s final chapter, which is devoted to what Wartenberg terms ‘graphic philosophy’. Here, Wartenberg analyses Alison Bechdel’s Fun Home: A Family Tragicomic – a memoir produced through illustrations that address the philosophical question of scepticism via Bechdel’s ‘epistemological crisis’. Bechdel is overcome with doubt over the truth status and objectivity of her own personal diary entries. Wartenberg argues that ‘this is parallel to Descartes’s worry in the Meditations that he might be mistaken about everything he takes to be true’, and is knowingly resolved by Ludwig Wittgenstein in his On Certainty (Wartenberg 2023: 282). He emphasizes the centrality of images in the memoir to portray a conceptually life-changing event for Bechdel, namely an encounter with a woman in a restaurant whose appearance assists her in figuring out her own identity. Wartenberg notes that text itself is insufficient to express Bechdel’s ideas here, arguing that ‘the visual information … is essential to our understanding of this incident in the book. Bechdel here uses a picture to convey information quickly in a readily understood manner, something that could not be done as efficiently with words alone’ (281). (shrink)

En el presente estudio analizaremos la expresión del conflicto en el lenguaje, donde la lucha palabra-letra impregna la teoría agónica del lenguaje y marca la trascendencia sobre la relación historia-intrahistoria. Asimismo, presentaremos la dimensión creadora del lenguaje, relevante desde el Unamuno contemplativo, y el papel desempeñado por el diálo go a la hora de expresar los dos poíos del conflicto, agónico y contem plativo.

In lieu of an abstract, here is a brief excerpt of the content:Philosophers, Carers, and Psychodramatic GamesCorinne Gal (bio), Alexandre Chapy (bio), Marielle Fau (bio), and Muriel Guaveia (bio)Dear Jonathan D. Moreno,Thank you for the honor of taking the time to comment on the work we do. It is very meaningful for us to be able to talk with you.We, too, see a big difference between philosophers and carers (in the broadest sense) who deal with the suffering of patients and (...) try to find methods to help them. But, if theory is at the service of the clinic, it becomes a formidable asset to refine our therapeutic methods and better understand what is happening to our patients.Indeed, patients suffering from psychosis, severe neurosis … are difficult to accompany and “recalcitrant to therapy by word alone” to use your terms. It is on this point that Ludwig Binswanger distanced himself from psychoanalysis. Binswanger ran a sanatorium in Switzerland (the Bellevue Clinic) and took in patients suffering from this type of psychological pathology. Aware that “the divan” and the analysis of the transference (unconscious) made little progress, he sought other ways of understanding his patients. The work of Edmund Husserl, the founder of the phenomenological movement, and then the work of Martin Heidegger1 fascinated him because they attempted to answer fundamental questions about being. The patients we work with ask themselves and us the same question: What is being? How can we feel existence within ourselves? Binswanger then created daseinsanalysis as an analysis of existence in which he was able to develop, among other dimensions, what he called “artists’ gestures,” including the possibility of (physical) contact with the patients. The body regained existential importance in the therapy.There are also strong similarities between psychiatric phenomenology and the work of Jacob Levy Moreno (2014, p. 214). We would like to quote your work: “ Nonetheless, there were links between them. Heidegger and J.L. shared preoccupation with personal authenticity and meaning [End Page 230] just enough to be considered part of the trends that led to postwar existentialism and fueled the new humanistic psychology, NTL, and encounter groups.”Jacob Levy Moreno’s working methods are much more powerful, allowing us to work as closely as possible with bodily feelings, since the body involved in the action is so present in psychodrama. Because, to this question of being posed by our patients, is linked the body as a felt, sensing body: the body that I am (which differs from the object body). Schizophrenic patients often express, and this is a terrible suffering, that they no longer feel anything, that they no longer feel they exist, that they no longer feel emotions or feelings. They do not know how to be in the world and with others. For us it is a fundamental symptom, as much as hallucinations. We link it to the loss of natural evidence (Blankenburg, 1991), the loss of contact with reality (Minkowski, 1929). Most of the time, in psychodrama, we “externalize” what the patients feel in different roles played by players, which allows us to work at the heart of each person’s difficulties in interaction. Trained in psychodrama by Anne Ancelin Schützenberger, we have to our credit a set of techniques to support the expression of psychodramatic play, a sort of “toolbox.” Depending on the context, the moment of the patient, our own state, we open our toolbox and try to choose and use the technique that best fits the needs of the game, of what we understand about the difficulty of the protagonist or the group. We do not do anything systematic, we are craftsmen. We have chosen to present a very simple game, without any technique used, except for the initial soliloquy, with a stabilized patient suffering from paucisymptomatic forms of schizophrenia. This is to demonstrate how the possibility of encounter, constitutive of existence, is a fundamental dimension of psychodrama.We thank you for the examples you have given us, they will be a source of inspiration and will fill our toolbox.To John Nolte:We thank you very much for your comments which honor us.The aim of the article was to present how the encounter in... (shrink)

Like some ‘second wave’ feminists, Rousseau believes that modern sexual practices are not a manifestation of a newfound autonomy—rather, they reflect its systemic deprivation. Drawing on his critique of libertine culture in eighteenth century Paris, I show how even consensual sex may lead to a chronic deficit of recognition, coupled with psychological misery. To avoid such discontents, sexual freedom must include a satisfying sexual recognition. I articulate the conditions for such recognition as cultivated in Emile’s erotic education. Informed by amour-propre, (...) Emile would seek a sexual partner who could recognize him as superior, yet, because Emile is also endowed with pity, he would understand such superiority in terms of uniqueness, independence and authentic expression, rather than as winning the transient favors of public taste. I propose that Rousseau’s recognitive account of sexual desire is applicable to current-day philosophical and public debates. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...) metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a composition (...) that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented with (...) mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

Many believe that Goodman’s new riddle of induction proves the impossibility of a purely syntactical theory of confirmation. After discussing and rejecting Jackson’s solution to Goodman’s paradox, I formulate the “new riddle of deduction,” in analogy to the new riddle of induction. Since it is generally agreed that deductive validity can be defined syntactically, the new riddle of induction equally does not show that inductive validity cannot be defined syntactically. I further rely on the analogy between induction and deduction in (...) order to explain why some predicates, such as “grue,” are unprojectible. (shrink)

McTaggart's negative thesis in his proof for the unreality of time, which contends that the A-series is contradictory, is still today upheld as a proof of the unreality of the properties of past, present, and future, and of the `flow of time'. In my paper, I defend the possibility of a complete and consistent description of the A-series, thus refuting McTaggart's negative thesis. I show that the failure to acknowledge the possibility of such a description is due to an ambiguity (...) in natural language. Once this ambiguity is clarified, and in light of the disanalogy between time and space, the usual description of the A-series, `Event e was future, is present, and will be past', is shown to be a successful description of the change in the temporal A-properties. (shrink)

Kuhle Wampe 1is an extraordinary cultural product by thecollective that was deeply involved in the formation of Weimar cinema.2Members of thiscollective were Slatan Dudov, who participated in Fritz Lang’s production of Metropolis, Hanns Eisler, who composed music for Walter Ruttmann’s Berlin: Symphony of aGreat City , while Ernst Ottwald was adistinguished novelist and a screenwriter. Bertolt Brecht did not have major experience infilm production,3although he collaborated with Karl Valentin in the preparation of film The Mysteries of a Hairdresser's Shop . (...) At that time,Brecht was developing his ‘materialist aesthetics’ in trying to conceptualise the answer tothe question: what is political art? (shrink)

The contribution sheds a critical light on the thirty years since the break-up of socialist Yugoslavia. It presents three hypotheses for a critical reorientation of the 1989–91 sequence. Firstly, rather than seeing 1989 as the start of the longue durée of a democratic process, for Yugoslavia this trajectory was ‘realised’ as political chaos and ethnic wars in 1991. Secondly, criticising the chronological view of ‘post-socialism’, it posits post-socialism as having already emerged after 1965, marked by market reforms that ‘withered away’ (...) socialism. Thirdly, and specific to the 1990s, in order to facilitate the transition to capitalism, a ‘primitive accumulation’ of memory and a high degree of violence unfolded, which actually dis-accumulated the socialist infrastructure and socialised means of (re)production. The post-Yugoslav transition proved a genuine ‘contribution’ to ‘making our country great again’: ethnically cleansed nation-states on the horizon of European peripheral capitalism. The contribution concludes on an affirmative note, pointing to the slow resurgence of the Left. (shrink)

European Journal of Philosophy, EarlyView.

The realm of bioethics has long been underpinned by the foundational concept of "personhood," which delineates entities meriting moral and legal consideration on the basis of attributes such as con...

In this paper I argue that a period of time during which nothing changes in the world is impossible. I do this by exposing the conceptual dependence of time on change. My argument rests on a view of necessary conditions for the meaningfulness of expressions in language. I end up concluding that the meaningfulness of temporal expressions assumes change.

This book describes a novel conception of reality, one that uniquely incorporates an idealistic view of existence with an account of objectivity. It introduces a general model of conceptual analysis and demonstrates its effectiveness in exposing and establishing the existence of conceptual ties. The book begins by introducing the tools and principles needed for the conceptual analysis undertaken in chapters that follow. Next, it presents a detailed examination into existence, contingency, idealism, self-consciousness and natural laws. In the process, the author (...) critically examines the conceptions of existence held by Kant, Frege and Russell; argues that the determinations of past, present and future are subjective in the sense that they imply the existence of consciousness in relation to which they are fixed; shows that every possible reality includes sufficient conditions for self-consciousness; and confronts the question of the "uniformity of nature," which states that reality is subject to natural laws. In the end, the idealistic conception of reality developed in this book implies that existence is relative, rather than absolute, in the sense that it is determined in relation to a point of view internal to reality. This view of existence implies that reality necessarily exists. (shrink)

1. Nietzsche l'éclatant -- 2. Nietzsche l'exorbitant.

The majority of the studies on attentional focus have shown that participants who were instructed to focus externally performed better than those who were taught to focus internally. However, in most of these studies the participants performed complex motor tasks. Due to the scarcity of data on the effects of attentional focus specifically on simple motor tasks, our purpose in the current study was to examine these effects on two simple reaction time tasks. The study was conducted on a cloud-based (...) experimental software. Participants were allocated to three experimental groups: an external focus group, an internal focus group, and a control group. The participants performed two tasks: a choice-RT task and a Simon task. Participants in all three groups practiced eight blocks of 20 trials from each task in a counterbalanced order – a total of 180 trials for each task. The sole difference between the three groups was the administered attentional focus instructions. The findings suggest that attentional focus instructions do not affect the performance of a choice-RT task or a Simon-task in a computerized online study. It is possible that the simple RT-based tasks in the current study were not sensitive to the attentional focus manipulation, since in such simple tasks there are not many actions that internal focus can disrupt. Although we asked the participants to what extent they followed the instructions, we cannot say whether their responses represent their actual attentional focus when performing the tasks. (shrink)

Humans are emotionally affected by cute or infantile appearances, typical of baby animals and humans, which in turn often leads to careful and cautious behavior. The purpose of this pre-registered study was to examine whether looking at cute images of baby pets improves performance of computerized cognitive-motor tasks. Ninety-eight participants were recruited for this online study and were randomly assigned to two experimental groups. The participants in one group performed two cognitive-motor tasks (Simon task and alternate task-switching task) before and (...) after viewing images of adult pets and the participants in the other group performed the tasks before and after viewing images of baby pets. The participants who viewed images of baby pets rated them as significantly cuter (Cohen’sd= 0.50) and more infantile (Cohen’sd= 1.56) compared with those who viewed images of adult pets. All participants improved their performance from the pre-test to the post-test, but no differences in correct responses and reaction times were seen between the groups. However, pet ownership appeared to serve as a moderating variable with pet owners performing the Simon task faster than non-pet owners. In addition, pet owners reacted faster in the alternate task-switching task after viewing cute and infantile images but not after viewing images of adult pets. This effect was not found among non-pet owners. In conclusion, this study did not find that viewing cute images improves cognitive-motor performance, yet this may be dependent on moderators like pet ownership. (shrink)

The following describes the concept of apoliticism, distinguishing it from indifference, which is also considered a negative attitude toward politics. Whereas apoliticism is the rejection of the official political institutions, possibly with the plan of an alternative system, the indifferent rejects politics altogether and is politically disinterested. If reflective negativism rejects politics as mechanism, the indifferent rejects it as a pursuit. I also distinguish between the extra-political, as the condition of being outside of any environment in which free deliberation and (...) public engagement is possible, and the supra-political condition, as blurring the line between public political activities and rites prescribed by the state on the one hand and the private sphere of the individual on the other hand. If different, both are forms of political poverty. These concepts may serve as means for a more nuanced understanding of the structure of apolitical attitudes. (shrink)

This article traces the limits of the understanding of beauty as unified multiplicity in Plotinus’ Enneads vi 2 and vi 6. These treatises can be read as insisting on the significance of multiplicity for beauty and as implying a distinction between the illuminated and the unilluminated beauty of Intellect. In treatise vi 7, this distinction is made explicit and a deeper understanding of beauty as the manifestation of the Good in Intellect is introduced.

The body of research on the social and political implications of Donald Winnicott’s psychoanalytic theory has been growing steadily in recent years. This has long been overdue, considering the preo...

The authors argue that Morenian-inspired existential psychodrama turns out to be a formidable lever for opening up existence as it allows schizophrenic patients to incorporate the experience of an “absolutely other” on which the foundation of any autonomous self is built. More precisely, by relying on their clinical experiences, the authors show how psycho-dramatic play goes along with an intense movement of original projection which carries psychotic patients externally in relation to themselves. Offset from their pathological world, these patients feel (...) more inclined to “wear someone else’s shoes,” for the duration of the game, and they do so in a manner that is both sensorial and pathic. This surprising and creative “journey,” which allows them to return to the world better attuned to others and to themselves, is merely an enactment of a “true” intersubjective encounter: the very essence of existential psychodrama. By applying phenomenology to this psychodramatic method, notably by relying on the hypothesis of psychosis being a disorder of what Bin Kimura calls the “ aida,” the authors hope to contribute to the advancement of psychosis’ psychotherapy. (shrink)