The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. (...) Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

Mistrust and fear of research often exist in minority communities because of assumptions, preconceived ideas, and historical abuse and racism that continue to influence research participation. The research establishment is full of well-meaning ‘outsider’ investigators who recognize discrimination, health disparities, and insufficient health care providers in minority communities, but struggle in breaking through this history of mistrust. This article provides ethical insights from one such ‘insider-outsider’, community-based participatory research project implemented via community health advisors in the Mississippi Delta. Both community-based (...) participatory research and community health advisors provide opportunities to address the ethical issues of trust, non-maleficence, and justice in minority communities. Implications for ethics-driven nursing research are discussed. (shrink)

Some stories generate in us a peculiar experience of intense narrative engagement. This common experience, which we call narrative immersion, has been the object of a vast literature in psychology and other disciplines. Philosophers, however, have only recently engaged with this topic and the tendency has been to explain it by postulating specific kinds of mental states. We propose a different approach, explaining narrative immersion by means of a particular distribution of attention over the content of ordinary mental (...) states. First, we provide a characterization of narrative immersion based on studies by psychologists and other theorists. Then, we discuss alternative views and develop our own proposal. We articulate how attention works as we engage with the narrative, and how the adequate distribution of attention over the mental states involved in understanding the storyworld can offer the resources to explain the characteristic features of narrative immersion. Unlike alternative proposals, ours avoids the need to postulate controversial mental states. (shrink)

This article offers a new interpretation of Apuleius’ story of Cupid and Psyche. Most scholars have previously offered a second-time reading of this story, according to which the reader reaches Book 11 and then looks back at Psyche's story of fall and redemption as a parallel for Lucius’ life. Following Graverini's and other scholars’ emotional approach to theMetamorphoses, I argue that the ecphrasis of Cupid's palace within the story of Cupid and Psyche includes multiple re-enactments of (...) the novel's prologue. These re-enactments invite the reader to undertake a first-time and immersive reading of this story, which focusses on Psyche's experience of Cupid and her reaction to his epiphany. In its use of immersion, this article draws from recent developments in cognitive narratology and pushes scholars of Apuleius to focus on the reader's immersive and emotional response in order to reassess the value of a second-time reading of theMetamorphoses. (shrink)

This paper addresses the simultaneous attitude and position tracking of a target spacecraft in the presence of general unknown bounded disturbances in the framework of dual quaternions, which provides a concise and integrated description of the coupled rotational and translational motions. By virtue of the newly introduced dual direction cosine matrix, the dimension of the dual quaternion-based relative motion dynamics written in vector/matrix form can be lowered to six. Treating the disturbances as unknown parameters, a modular adaptive pose tracking control (...) scheme composed of two separately designed parts is then derived. One part is the adaptive disturbance estimator designed based on the immersion and invariance theory. Driven by the disturbance estimation errors, it can realize exponential convergence of the estimations and has the nice “parameter lock” property, which can hardly be expected in the conventional certainty equivalent adaptive controllers. The other part is a proportional-derivative-like pose tracking controller where the estimated disturbances are directly used. The closed-loop stability of the relative motion system under different kinds of disturbances is proven by Lyapunov stability analysis. Simulations and comparisons with two previous dual quaternion-based controllers demonstrate the novel features and performance improvements of the proposed control scheme. (shrink)

Cinematic virtual reality (CVR) offers filmmakers a wide range of possibilities to explore new techniques regarding movie scripting, shooting and editing. Despite the many experiments performed so far both with both live action and computer-generated movies, just a few studies focused on analyzing how the various techniques actually affect the viewers’ experience. Like in traditional cinema, a key step for CVR screenwriters and directors is to choose from which perspective the viewers will see the scene, the so-called point of view (...) (POV). The aim of this paper is to understand to what extent watching an immersive movie from a specific POV could impact the narrative engagement (NE), i.e., the viewers’ sensation of being immersed in the movie environment and being connected with its characters and story. Two POVs that are typically used in CVR, i.e., first-person perspective (1-PP) and external perspective (EP), are investigated through a user study in which both objective and subjective metrics were collected. The user study was carried out by leveraging two live action 360° short films with distinct scripts. The results suggest that the 1-PP experience could be more pleasant than the EP one in terms of overall NE and narrative presence, or even for all the NE dimensions if the potential of that POV is specifically exploited. (shrink)

Evaluation processes are a basic component of creativity. They guide not only the pure judgement about a new artefact but also the generation itself, as creators constantly evaluate their own work. This paper proposes a model for automatic story generation based on the evaluation of stories. A model of how quality in stories is evaluated is presented, and two possible implementations of the generation guided by this evaluation are shown: exhaustive space exploration and constrained exploration. A theoretical model and (...) its implementation are explained and validation of the evaluation function through comparison with human criteria is described. (shrink)

The importance of forests is reflected in the national forest legislation which has been developed and implemented in European countries over recent years. Due to regional and national specificities, forest regulations include culturally immersed terms specific to the described area. The aim of this paper is to analyses the culturally driven legal terms existing in specific legal regulations concerning forestry in Germany, the United Kingdom, the United States of America and Poland, and identify possible ways of translating them. In (...) order to take the interdisciplinary nature of the issue into account, the degree of hybridity of the selected texts will be examined by means of corpus analysis. The methodology applied in the paper uses a comparative approach. Additionally, the authors also resort to the aforementioned corpus analysis, as well as the analysis of comparable texts and the analysis of terminology according to the three categories of equivalence as determined by Šarčević, and the techniques of providing equivalents for non-equivalent or partially equivalent terms as research methods. The material used for analysis comes from selected German, English and Polish legal acts regulating forest management and maintenance that are considered as corpora for the selection of culturally immersed terminology, namely: the Polish Act on Forests of 28th September 1991 [Ustawa z dnia 28 września 1991 r. o lasach], Title 16 U.S. Code Chapter 2—National Forests, Forestry Act 1967, Chapter 10, German Forestry Act 1975 [Gesetz zur Erhaltung des Waldes und zur Förderung der Forstwirtschaft von 1975]. The paper concerns potential problems that could occur in the translation of culturally immersed legal terminology due to the terms’ rigidity and high degree of specificity. The studies presented will allow conclusions to be drawn regarding the possibilities and strategies for translating culturally immersed terms. In addition, the availability of terminological dictionaries for these language pairs will be discussed. (shrink)

Understanding has often been regarded as a kind of knowledge. This paper argues that this view is very implausible for understanding words. Instead, a proper account will be of the “analytic-genetic” variety: it will describe immersion in the practice of using a word in such a way that even those not previously equipped with the concepts the word expresses can become immersed. Meeting this condition requires attention to findings in developmental psychology. If you understand a declarative utterance, you thereby (...) know what the speaker said in uttering the words she did. The converse is close to true: if you come to know what a speaker of a declarative utterance has said, then normally you understand the utterance. An example of an abnormal situation would be one in which the speaker’s utterance is in a language you do not understand, but you are authoritatively informed, and so know, what the speaker said. The connection between understanding a whole utterance and knowing something can be preserved by alluding to the basis of the knowledge: it should arise from understanding the words in the utterance, and how they are put together. This leads to a fairly uncontroversial conditional equivalence: (1) If an utterer of an utterance, U, thereby says that p then: (X knows this, on the basis of understanding the words in U and how they are put together) iff (X understands U). The relevant knowledge has no mysteries: it is propositional, typically fully explicit, and is invoked in memory and in reports of speech. The question to be addressed in this paper is whether we can apply this kind of connection between understanding and knowledge to explain what is taken for granted in the equivalence 2 above, namely, the understanding of words. I will suggest that we cannot. Under some idealizations, one can formulate necessarily true equivalences between understanding a word and knowing something, but these equivalences are unilluminating. The knowledge is not of the straightforward kind invoked in connection with whole utterances, and it is mysterious how one might come to possess it. An account of understanding words requires an “analytic-genetic” story, an analysis which offers some philosophical illumination while being consistent with what is known about the genesis of participation in linguistic practices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Participation and Immersion in Walton and CalvinoM. Carleton SimpsonThe novel begins in a railway station, a locomotive huffs, steam from a piston covers the opening of the chapter, a cloud of smoke hides part of the first paragraph... The pages of the book are clouded like the windows of an old train, the cloud of smoke rests on the sentences.1Part of Kendall Walton's theory of psychological participation, explicated (...) in Mimesis as Make-Believe, is that representations that display or draw attention to their fictionality discourage participation; part of our enjoyment of representational art is our psychological participation with the representation. The activity of participating comprises the game world, while the material representation comprises the work world. We play games of make-believe with representations, much as children play games with toys or other props. For Walton, the fullest psychological participation arises from the fullest immersion in the game world. Immersion means ignoring or being unaware of the materiality of the work world, attending only to the fictional reality of the work world. It is to "look past" the painted surface, or to become engrossed in the novel's narrative.To the extent that we consider the material of the work, we are distracted from participating in the game prescribed by the work: we do either the one or the other. So, Walton claims "One obvious way in which works sometimes discourage participation is by prominently declaring or displaying their fictionality, betraying their own pretense" (p. 275).2 For example, "The conspicuous brush strokes of Van Gogh's Starry Night call attention to themselves and to their record of the process by which paint was applied to the canvas, possibly intruding on the viewer's participation in his game... One can ignore the brush [End Page 321] strokes enough to lose oneself in the fictional world" (p. 277). In response to prodding by Patrick Maynard, Walton tempers this position: "Prominent brush strokes, as in many of Vincent van Gogh's paintings, can have an inhibiting effect, especially if the observer isn't used to such. Then they not only constitute a plain indication that what one is seeing is a mere painted canvas, but force this fact on the viewer's attention" (italics added).3Ernst Gombrich endorsed this position in Art and Illusion, attributing it to Kenneth Clark.4 Gombrich tells of Clark attempting to see both the brush strokes and the representation, and his failure to "observe what went on when the brush strokes and dabs of pigment on the canvas transformed themselves into a vision of transfigured reality as he stepped back" (p. 6). Walton intends his theory of psychological participation to be widely applicable to the representational arts; he argues that what holds for visual representations holds also for verbal representations. When reading a novel our ability to participate in the story is diminished to the extent the novel draws attention to its fictionality. We either immerse ourselves in the fictional world of the novel or attend to the historical production or materiality of the novel.Attending is contained in Walton's notion of appreciation. Appreciation without participation results when some representations "positively discourage participation, especially the psychological participation that would constitute the experience of being caught up in the story" (p. 274). Works like these employ a variety of strategies, "deliberately 'distancing' the appreciator from the fictional world... For if one does not imagine a proposition, it is unlikely to be fictional that one knows or believes it; and if one imagines it with minimal vivacity, one is unlikely to have the experience of fictionally being concerned or upset or relieved or frightened or overjoyed by the fact that it is true" (p. 274). Just as children imagine themselves to be participants in games of make-believe, more mature imaginings require us to imagine we are participants, not simply observers. Reflexive imagining is central to Walton's theory, and is a point he extensively develops.I argue against this disjunction of activities. My thesis is that participation need not arise from immersion at the expense of awareness. I am also critical of Walton's distinction between appreciation and participation—they are... (shrink)

As digital and immersive architectural installations and augmented reality applications generate new sensations, new digital dimensions and boundaries create new perceptions of our built environment. Digital architectural installations as immersive environments make data visible and tangible and give access to data as an experiential flow. Like the works of Refik Anadol, TeamLab or Universal Everything, digital architectural installations point to a neuroarchitectural and neurophenomenological atmosphere that refers to the understanding and measurement of embodied human experience, and how spaces affect people (...) and how they behave in a given setting. The objectivity of the screen allows viewers to observe through screens, and the screen as an ambivalent object provides a physical interface that transcends the shadow of its materiality, transforming the viewer’s environmental perception. Therefore, this article examines digital architectural environments that reveal the boundaries of architectural space, with particular consideration given to neuroaesthetics. In these data-driven environments, the human body is at the centre of multimodal perception. Therefore, these environments open the door to understanding the boundaries of architecture and invite the viewers to explore the boundaries of art and architecture that have become a fusion in the digital environment. (shrink)

Everyone knows what is feels like to be in pain. Scraped knees, toothaches, migraines, giving birth, cancer, heart attacks, and heartaches: pain permeates our entire lives. We also witness other people - loved ones - suffering, and we 'feel with' them. It is easy to assume this is the end of the story: 'pain-is-pain-is-pain', and that is all there is to say. But it is not. In fact, the way in which people respond to what they describe as 'painful' (...) has changed considerably over time. In the eighteenth and nineteenth centuries, for example, people believed that pain served a specific (and positive) function - it was a message from God or Nature; it would perfect the spirit. 'Suffer in this life and you wouldn't suffer in the next one'. Submission to pain was required. Nothing could be more removed from twentieth and twenty-first century understandings, where pain is regarded as an unremitting evil to be 'fought'. Focusing on the English-speaking world, this book tells the story of pain since the eighteenth century, addressing fundamental questions about the experience and nature of suffering over the last three centuries. How have those in pain interpreted their suffering - and how have these interpretations changed over time? How have people learnt to conduct themselves when suffering? How do friends and family react? And what about medical professionals: should they immerse themselves in the suffering person or is the best response a kind of professional detachment? (shrink)

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I (...) discuss, in a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)

To maximize brain plasticity after stroke, several rehabilitation strategies have been explored, including the use of intensive motor training, motor imagery, and action observation. Growing evidence of the positive impact of virtual reality (VR) techniques on recovery following stroke has been shown. However, most VR tools are designed to exploit active movement, and hence patients with low level of motor control cannot fully benefit from them. Consequently, the idea of directly training the central nervous system has been promoted by utilizing (...) motor-imagery (MI) based brain-computer interfaces (BCIs). To date, detailed information on which VR strategies lead to successful functional recovery is still largely missing, and very little is known about how to optimally integrate BCI and VR paradigms for stroke rehabilitation. The purpose of this study was to examine the efficacy of a BCI-VR system using a MI paradigm for post-stroke upper limb rehabilitation on functional assessments, and related changes in MI ability and brain imaging. To achieve this, a 60 years old male chronic stroke patient was recruited. The patient underwent a 3-week intervention in a clinical environment, resulting in 10 BCI-VR training sessions. The patient was assessed before and after intervention, as well as on a one-month follow-up, in terms of clinical scales and brain imaging using functional MRI (fMRI). Consistent with prior research, we found important improvements in upper extremity scores (Fugl-Meyer) and identified increases in brain activation measured by fMRI that suggest neuroplastic changes in brain motor networks. This study expands on the current body of evidence as more data are needed on the effect of this type of interventions not only on functional improvement but also through brain imaging to study the effect of the intervention on plasticity. (shrink)

These texts were created as part of a federally funded project (R305A200364) funded by the Institute of Education Sciences (IES), targeted towards the use of low-tech immersive learning for social studies instruction in Ohio's fourth and fifth grade classrooms. Texts and materials created as part of the Digital Civic Learning curriculum are free for use for educational purposes.

The present research examines how narrative engagement, or the extent to which people immerse themselves into the world of a story, varies as a function of narrative perspective and individual differences in alexithymia. The authors hypothesised that narrative engagement would be higher when people assume a first-person (rather than third-person) perspective and for people lower (rather than higher) on alexithymia. In an online study (N = 541) and a lab study (N = 55), participants with varying levels of alexithymia (...) read first- and/or third-person narrated texts and then rated their narrative engagement. As expected, first-person stories evoked more narrative engagement than third-person stories, and global alexithymia was negatively correlated with narrative engagement. Narrative perspective did not interact with cognitive facets of alexithymia (i.e. difficulties identifying, verbalising, and understanding feelings). However, narrative perspective did interact with affective facets of alexithymia (i.e. emotionalising and fantasising): First-person (rather than third-person) stories elicited more narrative engagement at lower levels of affective alexithymia, but not at higher levels of affective alexithymia. The interaction effect was significant in Study 1; the interaction was significant in Study 2 after controlling for trait absorption. Together, these findings suggest that alexithymia is linked to difficulties in mentally simulating narrative worlds. (shrink)

Doctrine of the distant tzaddik: mysticism, ethic, and politics -- Self-image and the Father-figure: Rabbi Nachman of Breslov on repairing the souls of the dead -- Two tzsddikim, Two women in labor, and one salvation: reading gender in Hasidic story -- 'Outside of the natural order': Temrel, the female Hasid -- Hasidic women: beyond egalitarianist discourse -- The Hasidic story: a call of narrative religiosity -- The Yamima method as a contemporary- Hasidic- female movement.

This was one of SCSS President Stephen M. Krason’s “Neither Left nor Right, but Catholic” columns that appeared during 2015 in Crisismagazine.com and The Wanderer and at his blog site. He makes an assessment, in light of Catholic social teaching, of the race issue in America today. He argues that the typical commentary about it ignores obvious realities, is often driven by ideology and the opportunism of self-appointed racial spokesmen, and ignores serious, deep-seated problems in minority communities with tragic (...) consequences. (shrink)

Facial electromyography research shows that corrugator supercilii ('frowning muscle') activity tracks the emotional valence of linguistic stimuli. Grounded or embodied accounts of language processing take such activity to reflect the simulation or ‘reenactment’ of emotion, as part of the retrieval of word meaning (e.g., of “furious”) and/or of building a situation model (e.g., for “Mark is furious”). However, the same muscle also expresses our primary emotional evaluation of things we encounter. Language-driven affective simulation can easily be at odds with (...) the reader’s affective evaluation of what language describes (e.g., when we like Mark being furious). To examine what happens in such cases, we independently manipulated simulation valence and moral evaluative valence in short narratives. Participants first read about characters behaving in a morally laudable or objectionable fashion: this immediately led to corrugator activity reflecting positive or negative affect. Next, and critically, a positive or negative event befell these same characters. Here, the corrugator response did not track the valence of the event, but reflected both simulation and moral evaluation. This highlights the importance of unpacking coarse notions of affective meaning in language processing research into components that reflect simulation and evaluation. Our results also call for a re-evaluation of the interpretation of corrugator EMG, as well as other affect-related facial muscles and other peripheral physiological measures, as unequivocal indicators of simulation. Research should explore how such measures behave in richer and more ecologically valid language processing, such as narrative; refining our understanding of simulation within a framework of grounded language comprehension. (shrink)

This book tells the curious story of an unexpected finding that sheds light on a crucial moment in the development of physics: the discovery of artificial radioactivity induced by neutrons. The finding in question is a notebook, clearly written in Fermi's handwriting, which records the frenzied days and nights that Fermi spent experimenting alone, driven by his theoretical ideas on beta decay. The notebook was found by the authors while browsing through documents left by Oscar D'Agostino, the chemist (...) among Fermi's group. From Fermi's notes, they reconstruct with skill and expertise the detailed timeline of the critical days leading up to his vital discovery. While much is already known about the road that led Fermi to his important result, this is the first time that it has been possible to reconstruct precisely when and how the initial evidence of neutron-induced decay was obtained. In relating this fascinating story, the book will be of great interest not only to those with a passion for the history of science but also to a wider audience. (shrink)

Strong social identity does not lead to lack of accountability and “bad” behavior in groups and crowds but rather causes group behavior to be driven by group norms. The solution to problematic group behavior is therefore not to individualize the group but rather to change group norms, as underlined by the relational dynamics widely studied in the SIDE tradition.

The cultural invasion of Yuin Country in Australia not only colonized the Yuin people and Yuin Country itself, but also contributed to non-Aboriginal people’s continual colonized journey of disconnecting self from Mother Earth. Cultural awareness is a process driven by Western theories informed by the colonial dualism that functions on separation and differences. Tripartation means assisting in a decolonization and more importantly a reculturalization process to place Yuin Country and align stories back into focus for all peoples attached to (...) Yuin Country. Tripartation challenges Western dualities to create a philosophical space, place and reality in Aboriginal dualities for non-Aboriginal people to find similarities and connections through stories in order to build respectful relationships with Aboriginal people, Yuin Country and importantly the self. Mingadhuga Mingayung focuses on identifying similarities through stories to guide non-Aboriginal people in Yuin ways of knowing, learning and behaving with Country. (shrink)

This study attempted to answer the question of how to share the values and ethics of youth work among practitioners and with policymakers, funders, and society. Although social interest in youth support in Japan has been on rise recently due to the increase number of difficulties surrounding young people, the ‘ethics and values’ in practice and in the field can be driven by the neoliberal social and political trends present in our society. This study presents a way to resist (...) and counter the penetration of neoliberal practical ethics and organisational management through the process of visualising, sharing and legitimising the ‘practical ethics and values’ embedded in the fields where youth work has been developed with young people. This is the research-based practice of ‘practitioners collectively telling, writing, sharing, and communicating the stories of practice’. (shrink)

At the beginning, all there is is world. It’s not all alike: here is mama, there is cold, over there—noise. Soon we begin to distinguish and to recognize: more mama, more cold, more noise! Yet initially these things appear to be all of a type. Each is, in Quine’s words, just a history of sporadic encounter, a mere portion of all there is. Only with time does this fluid totality in which we are immersed begin to take shape: sensations recur; (...) objects stick out; noise changes depending on the things around us. We learn how to act and to predict. We launch into giving names, using verbs, painting adjectives. Such marvelous unfolding is the subject of much inquiry by psychologists and biologists, and eventually by sociologists. But for a philosopher it is first and foremost the source of deep and bemusing bewilderment, if not a dilemma: Are we learning to make out the structure of the world, or are we endowing the world with a structure of our making? Is reality gradually revealing the mechanisms according to which it is organized, or is it we who progressively organize the amorphous and continuous flux of our experience? (shrink)

Data increasingly drive our lives. Often presented as a new trajectory, the deep immersion of our lives in data has a history that is well over a century old. By revisiting the work of early pioneers of what would today be called data science, we can bring into view both assumptions that fund our data-driven moment as well as alternative relations to data. I here excavate insights by contrasting a seemingly unlikely pair of early data technologists, Francis Galton (...) and W.E.B. Du Bois. Galton, well known for his contributions to eugenics, was first and foremost a tinkering technician of measure. There are numerous domains of science over which Galtonian conceptions retain considerable influence, presumably without his pride in racial inequality. A more viable, because more egalitarian, alternative for the present can be found in the early data work of Du Bois. (shrink)

The use of Artificial Intelligence (AI) in educational gamification marks a significant advancement, transforming traditional learning methods by offering interactive, adaptive, and personalized content. This approach makes historical content more relatable and promotes active learning and exploration. This research presents an innovative approach to heritage education, combining AI and gamification, explicitly targeting the Silk Roads. It represents a significant progression in a series of research, transitioning from basic 2D textual interactions to a 3D environment using photogrammetry, combining historical authenticity and (...) immersive gameplay. It features AI-driven characters developed in Unreal Engine, which provides heritage insights augmented by personalized interactions, highlighting the importance of collaborative tools like interactive quizzes for enriching education and promoting critical thinking and community among learners. In conclusion, this research underlines the transformative impact of AI and gamification in heritage education enhancement, integrating real-time voice conversation and interactive pedagogical methods into immersive 3D environments as a supplementary tool. (shrink)

Emotion is closely associated with language, but we know very little about how children express emotion in their own writing. We used a large‐scale, cross‐sectional, and data‐driven approach to investigate emotional expression via writing in children of different ages, and whether it varies for boys and girls. We first used a lexicon‐based bag‐of‐words approach to identify emotional content in a large corpus of stories (N>100,000) written by 7‐ to 13‐year‐old children. Generalized Additive Models were then used to model changes (...) in sentiment across age and gender. Two other machine learning approaches (BERT and TextBlob) validated and extended these analyses, converging on the finding that positive sentiments in children's writing decrease with age. These findings echo reports from previous studies showing a decrease in mood and an increased use of negative emotion words with age. We also found that stories by girls contained more positive sentiments than stories by boys. Our study shows the utility of large‐scale data‐driven approaches to reveal the content and nature of children's writing. Future experimental work should build on these observations to understand the likely complex relationships between written language and emotion, and how these change over development. (shrink)

A major concern of public health authorities is to also encourage adults to be exposed to enriched environments during the pandemic lockdown, as was recently the case worldwide during the COVID-19 outbreak. Games for adults that require physical activity, known as exergames, offer opportunities here. In particular, the output of the gaming industry nowadays offers computer games with extended reality which combines real and virtual environments and refers to human-machine interactions generated by computers and wearable technologies. For example, playing the (...) game in front of a computer screen while standing or walking on a force plate or treadmill allows the user to react to certain infrastructural changes and obstacles within the virtual environment. Recent developments, optimization, and minimizations in wearable technology have produced wireless headsets and sensors that allow for unrestricted whole-body movement. This makes the virtual experience more immersive and provides the opportunity for greater engagement than traditional exercise. Currently, XR serves as an umbrella term for current immersive technologies as well as future realities that enhance the experience with features that produce new controllable environments. Overall, these technology-enhanced exergames challenge the adult user and modify the experience by increasing sensory stimulation and creating an environment where virtual and real elements interact. As a therapy, exergames can potentially create new environments and visualizations that may be more ecologically valid and thus simulate real activities of daily living that can be trained. Furthermore, by adding telemedicine features to the exergame, progress over time can be closely monitored and feedback provided, offering future opportunities for cognitive-motor assessment. To more optimally serve and challenge adults both physically and cognitively over time in future lockdowns, there is a need to provide long-term remote training and feedback. Particularly related to activities of daily living that create opportunities for effective and lasting rehabilitation for elderly and sufferers from chronic non-communicable diseases. The aim of the current review is to envision the remote training and monitoring of physical and cognitive aspects for adults with limited mobility, through the implementation of concurrent telehealth and exergame features using XR and wireless sensor technologies. (shrink)

New technologies are emerging across the globe and are influencing our perceptions of the world, our behaviour and our understanding of what it means to be a human being. In particular, Klaus Schwab and others define the advancement of ‘cyber-physical systems’, coupled with new capacities for both machines and human beings, in terms of ‘The Fourth Industrial Revolution’. The South African Parliament placed the Fourth Industrial Revolution on its national agenda. It serves as a new foundation story for the (...) country, one that justifies, explains and facilitates the perceived shifts from previous understandings of reality, and one that currently plays out on an unevenly distributed continuum. To be an effective agent of change and a relevant voice for the voiceless and the powerless in this Fourth Industrial Revolution era, the church must facilitate immersive, yet provocative performances of the Gospels while simultaneously embodying and empowering others with wisdom to traverse this unchartered terrain of technological innovation with insight and discernment. The church’s message should be that, to live more godly, we all need to become more human, not post-human or trans-human. We cannot avoid the fact that we are entering an era in which technology will redefine who we are. However, the question is not only what technology can do for us but also what we as change agents should allow technology to do. Contribution: This article focuses on the role of the Christian church in our era of massive technological innovation. The creative role that faith communities could play in order to ensure a more humane approach to and interaction with various 4IR technologies are addressed. A short investigation is offered of a new ‘hermeneutical performance’ of the Bible as an immersive text in an interactive 4IR world. In this regard the emphasis on a new ‘metanoetic alignment with the mission of Jesus, which is explored in the article, links on to the theological scope of HTS Theological Studies in terms of new theological insights and new vistas for academic investigation. (shrink)

Autoethnographers have grappled with how to represent others in the stories they tell. However, very few have written about the need to protect themselves in the process of doing autoethnographic writing. In this paper, I explore the ethical challenges faced when writing about a potentially-ongoing disorder, such as anorexia, when the research process triggers previously disengaged unhealthy thinking or behaviors for those involved. In the story-writing process, I felt a strong pull to go back into anorexia, as I immersed (...) myself in my research on this topic. The compulsion to publish became intertwined with the compulsion of my anorexia, illustrated by the need to control both and present a certain "face" as a researcher. Using a meta-autoethnographic format, I walk the reader through the choices I made in an attempt to protect myself as a researcher in the process of publishing an autoethnography about anorexia. I also explain the lessons I learned, which can be applied to persons doing autoethnographies on topics that may affect their own personal well-being. This paper reveals the importance of writing through our pain in an ethical fashion and that the ethics of doing autoethnography is not just about protecting those implicated in our stories, but also ourselves. (shrink)

European Stories is the first book of its kind in any European language. Its authors explore the many different ways 'public intellectuals' have debated Europe - the EU and its periphery - within distinct epistemological, disciplinary, ideological and above all national traditions. The chapters focus on the post-1989 era but with a view to the long history of the 'European idea' and its variants across the continent. To what extent such ideas frame the attitude of European publics is left open. (...) But the authors assume that they matter to the European project as a whole. While the twelve national cases have been selected for the broad range they offer, from founding to non-EU member states, they are not exhaustive as the book is meant to encourage further research. The authors of these chapters are all themselves fully immersed in their respective public spheres although generally not strongly identified with one 'camp' or another. The expected readership is broad and interdisciplinary, ranging from political philosophy, to political science, international relations, history, sociology and the history of ideas. Beyond academia, European Stories is meant for all readers interested in the intellectual debates of our time. (shrink)

Vampire stories and folklores have originated from a range of sources; however, it is rather certain that the repulsive but attractive vampiric monster images in present popular culture are primarily derived from Anne Rice’s novel Interview with the Vampire. That being said, it was around the end of the eighteenth century that vampires first invaded the popular literary world, with literary vampires growing noticeably more powerful and perpetual than any of their monstrous predecessors in the years since the publication of (...) John Polidori’s successful short story The Vampyre in 1819. Due to associated aesthetic transformations, vampirism itself has become increasingly popular, to the extent that it now commands some followers who even worship vampiric rituals and lifestyles in spite of there being no solid, physical evidence of actual vampires, but rather only literary and imaginary examples of the creatures. In order to grasp how this fascination with vampires has turned into a quasi-religious phenomenon and ideology, a proper investigation of vampiric mechanisms and aesthetics should be empirical in nature. Utilizing Interview with the Vampire as an example due to its clearly substantial influence on current vampire imagery, this article examines how the paradoxical interchange between aversion and attraction plays its role in the visceral religion of the vampire-immersed world. (shrink)

Mode of philosophizing in post-colonial India is deeply influenced by two centuries of British rule, wherein a popular divide emerged between doing classical Indian philosophy and Western philosophy. However, a closer look reveals that the divide is not exclusive, since there are several criss-cross modes of philosophizing shaped by the forces of colonialism and nationalist consciousness. Contemporary challenges lie in raising new philosophical questions relevant to our time, keeping in view both what has been inherited and what has been imbibed (...) in these centuries-old civilizational journeys. One needs to recognize India’s rich intellectual traditions based on cultural diversity, and at the same time raise fundamental questions that are transcendental in nature, yet historically rooted in our temporal presence. The challenge to articulate the nature of Indian philosophy has remained one of the daunting tasks for scholars of philosophy. Contemporariness of Indian philosophy is another issue to be deliberated. Contemporariness lies not only in raising new questions to classical Indian philosophies, but also in finding newness in old questions. It should further include engaging the classical philosophies with new methodological questions, be it Western philosophical methods or ones internally generated. Contemporariness will include narrating new stories driven by the dynamics of the present, where drive for questioning comes from the authentic philosophical issues of our time. (shrink)

This wise, stirring book argues that the search for meaning can immeasurably deepen our lives and is far more fulfilling than the pursuit of personal happiness. There is a myth in our culture that the search for meaning is some esoteric pursuit--that you have to travel to a distant monastery or page through dusty volumes to figure out life's great secret. The truth is, there are untapped sources of meaning all around us--right here, right now. Drawing on the latest research (...) in positive psychology; on insights from George Eliot, Viktor Frankl, Aristotle, the Buddha, and other great minds; and on interviews with seekers of meaning, Emily Esfahani Smith lays out the four pillars upon which meaning rests. Belonging: We all need to find our tribe and forge relationships in which we feel understood, recognized, and valued--to know we matter to others. Purpose: We all need a far-reaching goal that motivates us, serves as the organizing principle of our lives, and drives us to make a contribution to the world. Storytelling: We are all storytellers, taking our disparate experiences and assembling them into a coherent narrative that allows us to make sense of ourselves and the world. Transcendence: During a transcendent or mystical experience, we feel we have risen above the everyday world and are connected to something vast and meaningful. To bring those concepts to life, Smith visits a tight-knit fishing village on the Chesapeake Bay, stargazes in West Texas, attends a dinner where young people gather to share their experiences of untimely loss, and more. And she explores how we might begin to build a culture of meaning in our schools, our workplaces, and our communities. Inspiring and story-driven, The Power of Meaning will strike a profound chord in anyone seeking a richer, more satisfying life. (shrink)

Ideas About Art is an intelligent, accessible introductory text for students interested in learning how to think about aesthetics. It uses stories drawn from the experiences of individuals involved in the arts as a means of exposing readers to the philosophies, theories, and arguments that shape and drive visual art. An accessible, story-driven introduction to aesthetic theory and philosophy Prompts readers to develop independent ideas about aesthetics; this is a guide on how to think, not what to think (...) Includes discussions of non-western, contemporary, and discipline-specific theories Examines a range of art-based dilemmas across a wide variety of disciplines - from art and design and law to visual and museum studies. (shrink)

Downton Abbey is, at its most basic, a story driven by intimate, romantic relationships: Mary and Matthew, Bates and Anna, Sybil and Branson, Lord and Lady Grantham, and many others. As viewers, we root for (or against) these characters as they fall in love, quarrel, break up, reconcile, have children, and deal with separation and death. But what do we get out of this? Is it merely an emotional “rush,” or is it something more meaningful? In this essay, (...) I’ll attempt to answer this question by examining how the relationships portrayed in Downton Abbey might look to the characters of Plato’s Symposium, one of the first (and most famous) philosophical treatments of love. The residents of Downtown Abbey provide ideal models for exploring and critiquing the various “theories of love” offered by the Symposium’s characters. Thomas’s defense of James, for example, provides a great illustration of Phaedrus’s claim about the relationship between love and courage, while Mary’s early struggles illuminate Pausanias’s suggestion that “pure” love can be achieved only by following (well-designed) social rules. By contrast, Bates and Anna help give content to Aristophanes’ s idea that love involves finding your “missing half,” while Carson’s and Mrs. Hughes’ relationship exemplify the sort of “order” celebrated by Eryximachus. Edith, for her part, seems to have fallen for Agathon’s sophistical claim that romantic love can only truly be experienced by the young and beautiful. Finally, Socrates’s famous account of the “ladder of love” can be seen most vividly in the transformative relationship of Sybil and Bronson. Along the way, we’ll consider what is really meant by “Platonic love,” and consider what the characters of Downton Abbey can teach about this invaluable philosophical concept. (shrink)

First-person methodologies have been criticized for their inability to arrive at reliable and verifiable knowledge of the contents of conscious experience. Consciousness, however, is not its contents, but the cognitive capacity that makes those contents available. That capacity is directly and uniquely accessible to first-person inquiry, provided a suitable methodology can be developed. As a framework for such inquiry, this paper distinguishes two structures that give rise to conscious contents: narrative and story. While narratives are told, stories are inhabited. (...) Stories are fundamental to conscious experience: an event is conscious only if it fits the presently unfolding story. While third-person inquiry relies on withdrawing from story into narrative, first-person inquiry can take place within the story. In place of the reductive objectivity of third-person science, first-person inquiry can cultivate an engaged objectivity, immersed in the story but not bound to it, that makes the phenomenon of consciousness available to be known. Communities of inquiry practising such a first-person style of inquiry could develop criteria for assessing advances in knowledge and for research programmes appropriate to furthering such advances. (shrink)

In his story entitled "Toenails," the surgeon Richard Selzer (1982) warns readers that total immersion in medicine is wrongheaded. Rather, to ensure their own health, doctors should discover other passions that permit them periodically to disconnect from medical practice. Selzer's surgeon character devotes his Wednesday afternoons to the public library, where he joins "a subculture of elderly men and women who gather … to read or sleep beneath the world's newspapers" (p. 69). Among these often eccentric personages is (...) Neckerchief, an arthritic man in his 80s who suffers from severe foot pain. His toenails, never trimmed because of his inability to reach them, have grown so long that they curve beneath his toes and .. (shrink)

In a well-known story constructed by Saul Kripke , Pierre, a rational but monolingual Frenchman who has never visited England, acquires, on the evidence of many magazine pictures of London, the belief that London is beautiful. He is happy to declare ‘Londres est jolie’. Pierre eventually moves to England and settles in one of the seedier areas of London, travelling only to comparably shabby neighbourhoods. He learns English by immersion, though he does not realize that ‘London’ and ‘Londres’ (...) are co-referential. Naturally enough, given his current circumstances, he acquires a belief that he is only too willing to express by uttering ‘It is not the case that London is beautiful’. So apparently he now holds contradictory beliefs. But rational people do not hold contradictory beliefs ….One popular response to Kripke's puzzle is that people …. (shrink)

In “A Hymn to Tethys: Chronofabulation and the Emptiness of Ancient Oceans,” the intimate connections between the human encounter with the sea in its various moods and phases, the experience of the passing of time on a human scale, but also on the geological and cosmic scales of deep time, and our propensity as a species for fictionalizing or fabricating as a way of orienting ourselves through language and imagery in the face of mortality and loss, areas explored through a (...) theory-fictional or ficto-critical narrative based around the concept of chronofabulation. Chronofabulation on one level is here concerned with the use of philosophically oriented storytelling as a form of time travel, in which the ocean is both a constant thematic background and a central character in the story, whilst on another level it is about divination – or divine dissipation – as a kind of philosophizing; an understanding of the divinatory process that is also, in the senses considered here, a prolegomenon for an oceanic materialism. In using a theory-fictional approach to time and the sea, this paper is responding to recent critical thinking on the consequences of post-critique in the theoretical humanities as a route to investigate and test out new ways of deploying literary-philosophical immersion to navigate Nietzsche’s “new seas,” which for him were, and from this perspective are for us now, the truly open seas of a future beyond the inherent nihilism of modernity. In doing so, and in terms of methodology, it takes seriously the idea of treating theory and literary-philosophical discourse in the form of a kind of graphic novel, but a graphic novel without any images, on the assumption that readers will supply their own images and visual and contextual continuities as they read, and in doing, so engage directly with the oceans and their philosophemes as revealed in the process of reading and writing as chronofabulation. (shrink)

Valuing Peak Experience in Everyday Lives takes Abraham Maslow's concept of peak experience and compares how people have encountered transcendent peak experiences, and related phenomena such as flow and peak performance in their everyday lives. By examining existing research and sharing people's actual encounters in different contexts such as music, education, sport, creative arts and nature, the importance and value of peak experiences and self-transcendence in our lives can be better understood and fostered. The book explores the challenges, benefits and (...) opportunities presented by understanding peak experience in contemporary contexts. Drawing on research from positive psychology and transpersonal psychology, each of the twelve chapters, reports on a work or leisure context where peak experiences have been generated and studied. The chapters are introduced by drawing on relevant theory and research and then expanded via accounts, vignettes and examples from people immersed in those activities or contexts to provide a blend of case stories and theoretical foundations. The book is valuable reading for professional practitioners such as psychologists, educators, coaches, psychotherapists and those interested in personal development. It will also be relevant for students of transpersonal and positive psychology, humanism and human development, interested in understanding transcendent peak experiences and related concepts, such as flow. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Driven by the desire to fill newspaper pages with sensational images, press photographers shot everything, day and night: automobile accidents, fires, murders, all the cop news that fought for a hot spot on the Front Page. And they covered uncounted numbers of social affairs -- pictures called 'grip-and-grins' in the trade: school events, sports, celebrities, oddities both of nature and humanity. Veteran journalist and mystery writer Larry Millett has unearthed over 200 of the best photos from the archives of (...) the St Paul Pioneer Press and the St Paul Dispatch for 'Strange Days, Dangerous Nights'. Included are the sensational stories behind the photos and biographies of some of the top press photographers of the day. An evocative look at another time, this is a visual history like no other, a feast for fans of photography and photojournalism, crime buffs, and urban historians -- and a testament to the craft of those photographers who documented their era one shot at a time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 203-205 [Access article in PDF] The Taipai, Taiwan, Museum of World Religions Maria Reis Habito Dallas, Texas A new museum dedicated to exploring the world's great religious traditions opened in Taipei this past November. Its professed mission is rather unique: to teach about religions and religious life in the world, and to provide instructive experiences about the variety of the world's religious expressions as a (...) basis for mutual understanding, peace, and love among peoples of the world. The vision for the museum as a place that will foster religious learning, interreligious dialogue, and cooperation was developed by its founder, the Venerable Dharma Master Hsin Tao. He conceived the museum as an educational institution that will "explore the fundamental values that are at the roots of all religions." The mission of the museum—"to encourage respect, tolerance and love by fostering dialogue among people of all faiths and backgrounds as we work together to create greater understanding and peaceful interaction in the New Millennium"—has attracted widespread support among his disciples in Taiwan and overseas, whose contributions have made the museum project possible. The Content of the Museum of World Religions The goal in the content development and design of the museum has been twofold: (1) to create an institution of learning in which the visitor will find well structured information about important aspects of the world's religions and (2) to create an interactive space that, in the words of Ralph Applebaum, "immerses the visitors in an experience that enables them to view religion from many different perspectives to gain a better understanding of their own faith and the faith of others." To this, Professor Sullivan added, "[V]isitors will be invited to explore all religions as expressions of a universal search for purpose, meaning, and enlightenment. The museum will be a living monument to the human spirit and a sanctuary honoring the world's myriad faith traditions." To engage the visitor in this exploration, the visit to the museum has been designed as a journey that, even though not a ritual per se, has a structure analogous to the three-part structure of religious rituals.First, visitors experience a moment of separation from everyday life and enter into a very different quality of space and time. Second, during this kind of "time out," [End Page 203] suspended between the normal moments of everyday activity, the visitors undergo a special and intense experience, during which they receive knowledge that transforms their understanding and alters their self-perception. Such transformation occurs in the face of powerful sacred objects, symbols, or events that are displayed and experiencedin relatively dramatic presentations in the museum. They invite the visitor to participate and interact. Thirdly, steps are undertaken to reinsert the visitor back into the life of daily activity.There are fourteen steps to the museum experience, each of which lands the visitor in a different place, with its own experience of time. At each step, in each place, the religious structure of time is viewed on a different scale, seen under a different order of magnification. The museum experience is an orderly succession of times, magnified and mapped onto a series of spaces that invite the visitor's interaction. The aim is to offer the visitor an experience that, like a ritual, is satisfying and transformative and yet remains an experience proper to an institute of learning.As an example of one of the steps, imagine coming from the lobby (step 5) into the Prime Times Theater (step 6). The panel on the eastern wall of the lobby slides aside, and you enter into the darkened theater as into a cave. You are implanted there in the mysterious and primeval space to relive the experience of the seed of love and peace, planted in the fertile grounds of origins. In a fifteen-minute film you view the primordial times described in religious myths and relive the drama and emotion of how life came to be as it is. A powerful weave of narration and imagery retells the stories and poses fundamental questions... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Our Living SocietyJames CampbellIWhen I was working on my history of the early years of the American Philosophical Association (A Thoughtful Profession), I spent a great deal of time immersed in the unhappy genre of the presidential address. Three divisions, each with its own annual president, make for a lot of presidential addresses. One of the things that I learned from this effort was that these addresses can be (...) sorted quite easily into two types. The first reflects some philosophical interest of the individual president; the second considers the ongoing life of the association. My presidential address will be of the latter sort.I thought that I would speak with you today about the Society for the Advancement of American Philosophy (SAAP) as a living society. To do so means, of course, that I will be speaking about us. "We" are the members of SAAP—or better, we are SAAP. I will address my remarks primarily to the younger members of the audience: to those who cannot recall a time before SAAP existed. As our Society moves forward, and as the members of the founding generation inevitably pass on, there has been a natural change of focus. Our Society was established nearly forty years ago, at a time when the founders felt great alienation from the American Philosophical Association. The issues that brought them together in the early-1970s, however, are not the issues that we are facing at present. Our issues—your issues as the future of the Society—have fundamentally changed. It is no longer possible, if it ever really was, to define ourselves simply as "not them." We need to articulate, better than we have, not so much who we are as who we desire to become. While our pluralistic ways may no longer stick out in the broader philosophical profession, as Walt Whitman would in a Wall Street brokerage house, we [End Page 128] continue to feel isolation from much of what goes on in the profession. In many ways, SAAP's initial phase has been a tremendous success; but where does SAAP, where do we, go from here?III thought that I might also speak a bit about myself, not because my story is so special, but because it is a small piece of our collective past. Others of you may remember these times differently and may have taken away different lessons. If you will allow me, I will begin my story after I left the Army in 1969 and enrolled at Temple University in Philadelphia, where I had grown up. I was at that time a bit older, and more serious, than most of my fellow students. I enrolled as a philosophy major because, after a number of years entrapped within the military system of blind obedience to unquestioned authority, I wanted to find better justifications for my own, and for society's, practices. Philosophy appealed to me as the place where I might find the answers to my life questions.Unfortunately, philosophy in those days—at Temple and at most other American universities—was not the sort of field in which students found many answers to the questions that puzzled me. We learned a great deal about duck-rabbits and the uncertain location of someone named Brown; we wondered whether a person might know how to sex chickens, and how he or she might know; we explored the apparent menace of female impersonators' conventions for the inherited notion of truth. Overall, philosophy seemed to be a branch of epistemology, rather than vice versa. After several years of this sort of philosophical study, I managed to become very clever. I had a counter-example for any statement more daring than "hello," and I thought that I knew a great deal because I had learned how to avoid all consideration of context or history.Still, through my cleverness, I realized that something was not right. I was not developing answers for my puzzlements about life or the improvement of society. Since I was not doing what I wanted to do in philosophy, the fact that I was doing it quite well mattered little. As I look back now through the eyes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.1 (2000) 96-99 [Access article in PDF] Book Review The Long Path to Nearness: A Contribution to a Corporeal Philosophy of Communication and the Groundwork for an Ethics of Relief The Long Path to Nearness: A Contribution to a Corporeal Philosophy of Communication and the Groundwork for an Ethics of Relief. Ramsey Eric Ramsey. Atlantic Highlands, NJ: Humanities Press, 1998. Pp. xiv + 145. $49.95, cloth. (...) The cryptic title of Ramsey Eric Ramsey's new text creates a very useful metaphor that runs, as a long, sometimes winding, path through the wooded grounds of philosophy, communication, and ethics. The distance of the journey to corporeal communication and an ethics of relief is long in the sense that the journey requires most readers to shed some perceptual baggage as payment for passage. An example of such baggage shedding is Ramsey's effort to "re-call" communication. A valuable section of his work, it elicits an interesting new metaphorical perception of that which we take for granted.The premise that Ramsey works under is an acknowledged one of a critical existential Marxist who is influenced by Martin Heidegger. The additional [End Page 96] frame of this project is Calvin O. Schrag's 1987 book Communication Praxis and the Space of Subjectivity; indeed, Ramsey posits this work as a "building upon" Schrag's contribution. Certainly, in the use and understanding of communicative praxis, Ramsey does extend the work of Schrag. But there is more to Ramsey than new chapters in a story told earlier.Ramsey presents two arguments, along with well-sculpted, carefully detailed supporting premises that make the unfolding an enjoyable process. The issues of The Long Path to Nearness are (1) the neglected body in communication theory, which represents the inescapable contact point with the natural world, and (2) liberation ethics, explicated from an understanding of the absoluteness of uncertainty and the implications of responsibility. The arguments are fashioned around a Heideggerian "being-in-the-world" consciousness, one that, in its essence would presuppose both the body and the other as pretheoretical. Ramsey takes another approach, however, and avoids the transcendental while arguing, in a later context, for the transcendent.The long path begins with a phenomenological explication of the corporeal body, with a frequent and consistent implication of praxis as a sort of journey signpost (50 miles to Dallas... then 40 miles to Dallas, etc.) reminding the reader that practice is essential to the understanding of communication corporeality. In "re-calling" communication, Ramsey defines communication as a dynamic practice that offers possibility, possibility shaped by the binary of active and passive moments. For Ramsey's project, the passive moment is that which represents the material world and the inescapable Dasein that implies the body. Ramsey does not argue for an intercorporeality, choosing instead to imply the concept with a "being-in-the-world-with-other" perspective in the context of the corporeality argument. The active moment is the moment of subjectivity, which represents the consciousness of intentionality. Given Heidegger's definition of logos as "speaking" and Ramsey's professed phenomenological perspective (a study of being as opposed to knowing), possibility for Ramsey represents communication as "being-in-the-world-speaking" through a consciousness of intentionality and a material body presence. This presence in the world is practiced, negotiated, and experienced through communication.Ramsey's argument of possibility is an intricate exploration of the potentiality of horizons that are open-ended, endlessly challenging, and inviting potentiality for an ethics of liberation. Ramsey's explication of possibilities is one of the significant offerings of this effort, and is worth examination on the basis of its nuances and constructions.The overall argument for corporeality will be largely familiar to a European audience immersed in the body politic. This is not to say that the [End Page 97] effort does not offer new and inviting understandings, but rather to suggest that the premises of Ramsey's work best relate to those of continental thought regarding body presence. For those who... (shrink)

The story of the fall and rise of Zahavi’s handicap principle is one of a battle between models. Early attempts at formal modeling produced negative results and, unsurprisingly, scepticism about the principle. A major change came in 1990 with Grafen’s production of coherent models of a handicap mechanism of honest signalling. This paper’s first claim is that acceptance of the principle, and its dissemination into other disciplines, has been driven principally by that, and subsequent modeling, rather than by (...) empirical results. Secondly, there is a vast literature on biological signalling but few studies that make all of the observations necessary to diagnose the handicap mechanism. My final claim is that many of the applications of costly signalling theory in other disciplines are conceptually confused. Misinterpretations of what is meant by costly signalling are common. Demonstrating that a signal is costly is insufficient and is not always necessary in order to prove that, and explain why, a signal is honest. In addition to the biological modelling of signals, there is an economic literature on the same subject. The two run in parallel in the sense that they have had little mutual interaction. Additionally, it is the biological modelling that has been picked up, and often misapplied, by other disciplines. (shrink)

Did Freud present a scientific hypothesis about the unconscious, as he always maintained and as many of his disciples keep repeating? This question has long prompted debates concerning the legitimacy and usefulness of psychoanalysis, and it is of utmost importance to Lacanian analysts, whose main project has been to stress Freud's scientific grounding. Here Jacques Bouveresse, a noted authority on Ludwig Wittgenstein, contributes to the debate by turning to this Austrian-born philosopher and contemporary of Freud for a candid assessment of (...) the early issues surrounding psychoanalysis. Wittgenstein, who himself had delivered a devastating critique of traditional philosophy, sympathetically pondered Freud's claim to have produced a scientific theory in proposing a new model of the human psyche. What Wittgenstein recognized--and what Bouveresse so eloquently stresses for today's reader--is that psychoanalysis does not aim to produce a change limited to the intellect but rather seeks to provoke an authentic change of human attitudes. The beauty behind the theory of the unconscious for Wittgenstein is that it breaks away from scientific, causal explanations to offer new forms of thinking and speaking, or rather, a new mythology. Offering a critical view of all the texts in which Wittgenstein mentions Freud, Bouveresse immerses us in the intellectual climate of Vienna in the early part of the twentieth century. Although we come to see why Wittgenstein did not view psychoanalysis as a science proper, we are nonetheless made to feel the philosopher's sense of wonder and respect for the cultural task Freud took on as he found new ways meaningfully to discuss human concerns. Intertwined in this story of Wittgenstein's grappling with the theory of the unconscious is the story of how he came to question the authority of science and of philosophy itself. While aiming primarily at the clarification of Wittgenstein's opinion of Freud, Bouveresse's book can be read as a challenge to the French psychoanalytic school of Lacan and as a provocative commentary on cultural authority. (shrink)

There is ample evidence that humans (and other primates) possess a knowledge instinct—a biologically driven impulse to make coherent sense of the world at the highest level possible. Yet behavioral decision-making data suggest a contrary biological drive to minimize cognitive effort by solving problems using simplifying heuristics. Individuals differ, and the same person varies over time, in the strength of the knowledge instinct. Neuroimaging studies suggest which brain regions might mediate the balance between knowledge expansion and heuristic simplification. One (...) region implicated in primary emotional experience is more activated in individuals who use primitive heuristics, whereas two areas of the cortex are more activated in individuals with a strong knowledge drive: one region implicated in detecting risk or conflict and another implicated in generating creative ideas. Knowledge maximization and effort minimization are both evolutionary adaptations, and both are valuable in different contexts. Effort minimization helps us make minor and routine decisions efficiently, whereas knowledge maximization connects us to the beautiful, to the sublime, and to our highest aspirations. We relate the opposition between the knowledge instinct and heuristics to the biblical story of the fall, and argue that the causal scientific worldview is mathematically equivalent to teleological arguments from final causes. Elements of a scientific program are formulated to address unresolved issues. (shrink)

My relationship to the guitar can be characterized by the Friday evening distortion of Kirk Hammett (of Metallica) and Dan Auerbach (of The Black Keys) and Sunday morning’s soaring chords of classical musicians Julian Bream and Rafael Andia to anything in between the rest of the week. I have, however, kept my writing and my music away from my professional practice. I am one of those for whom music and poetry offer a refuge, a source of compensation for the emotions (...) built up during clinical work. I need to look outside of my practice for the beauty of the world, in all its harsh reality and breadth, reveling in the splendor to bring me peace. Reading Bryan Sisk’s (2011) reflection on bringing his guitar, his songs, and his free time to the Cleveland Clinic Children’s Hospital challenged me to immerse myself in a different musical and literary universe. A Lasting Effect: Reflections on Music and Medicine is a collection of reflective pieces written when Sisk was a medical student. He des .. (shrink)