Metabolic pathways underlying brain function remain largely unexplored during neurodevelopment, predominantly due to the lack of feasible techniques for use with awake infants. Broadband near-infrared spectroscopy provides the opportunity to explore the relationship between cerebral energy metabolism and blood oxygenation/haemodynamics through the measurement of changes in the oxidation state of mitochondrial respiratory chain enzyme cytochrome-c-oxidase alongside haemodynamic changes. We used a bNIRS system to measure ΔoxCCO and haemodynamics during functional activation in a group of 42 typically developing infants aged between (...) 4 and 7 months. bNIRS measurements were made over the right hemisphere over temporal, parietal and central cortical regions, in response to social and non-social visual and auditory stimuli. Both ΔoxCCO and Δ[HbO2] displayed larger activation for the social condition in comparison to the non-social condition. Integration of haemodynamic and metabolic signals revealed networks of stimulus-selective cortical regions that were not apparent from analysis of the individual bNIRS signals. These results provide the first spatially resolved measures of cerebral metabolic activity alongside haemodynamics during functional activation in infants. Measuring synchronised changes in metabolism and haemodynamics have the potential for uncovering the development of cortical specialisation in early infancy. (shrink)

The fairy tale The Three Princes of Serendip can be taken to be allegorical of not only chance discovery (serendipity) but of other aspects of scientific discovery as well. Just as Horace Walpole coined serendipity, so can the term bahramdipity be derived from the tale and defined as the cruel suppression of a serendipitous discovery. Suppressed, unpublished discoveries are designated nulltiples. Several examples are presented to make the case that bahramdipity is an existent aspect of scientific discovery. Other examples of (...) non-ideal scientific research and discovery are provided in order to contrast and clarify the meaning and use of bahramdipity. Additional allegories of scientific discovery are taken from the tale and a hope for the strengthening of scientific integrity is expressed. (shrink)

Contentless experience involves an absence of mental content such as thought, perception, and mental imagery. In academic work it has been classically treated as including states like those aimed for in Shamatha, Transcendental, and Stillness Meditation. We have used evidence synthesis to select and review 135 expert texts from within the three traditions. In this paper we identify the features of contentless experience referred to in the expert texts and determine whether the experiences are the same or different across the (...) practices with respect to each feature. We identify 65 features reported or implied in one or more practices, with most being reported or implied in all three. While there are broad similarities in the experiences across the traditions, we find that there are differences with respect to four features and possibly many others. The main difference identified is that Shamatha involves substantially greater attentional stability and vividness. Another key finding is that numerous forms of content are present in the experiences, including wakefulness, naturalness, calm, bliss/joy, and freedom. The findings indicate that meditation experiences described as contentless in the academic literature can in fact involve considerable variation, and that in many and perhaps most cases these experiences are not truly contentless. This challenges classical understandings in academic research that in these so-called contentless experiences all content is absent, and that the experiences are therefore an identical state of _pure consciousness_ or consciousness itself. Our assessment is that it remains an open question whether the experiences aimed for in the three practices should be classed as pure consciousness. Implications of our analysis for neuroscientific and clinical studies and for basic understandings of the practices are discussed. (shrink)

Shamatha, Transcendental, and Stillness Meditation are said to aim for “contentless” experiences, where mental content such as thoughts, perceptions, and mental images is absent. Silence is understood to be a central feature of those experiences. The main source of information about the experiences is texts by experts from within the three traditions. Previous research has tended not to use an explicit scientific method for selecting and reviewing expert texts on meditation. We have identified evidence synthesis as a robust and transparent (...) method that is suitable for this purpose. In this paper we use evidence synthesis based on expert texts to examine silence/quietness as a feature of the contentless experiences in the three practices. Objective criteria were used to select a sample of 135 expert texts. A database containing the expert descriptions of the meditation techniques and experiences was produced by extracting the relevant material from the publications and coding that material to differentiate individual features. The database, which forms part of the supplementary material for this paper, identifies each feature of the contentless experiences referred to in the expert texts, including silence/quietness. Our key finding is that the experts indicate silence/quietness has a particular connection with stillness, and the absence of concepts, mental activity/noise, thoughts, and disturbance. Further analysis leads to the following insights. The silence/quietness reflects the absence of thoughts and sounds, and this fits neatly with a conception of silence/quietness as the absence of internal and external noise. In some cases the terms silence and quietness may also reflect the absence of other disturbances such as non-auditory perceptions, mental images, and negative feelings. That would fit with a conception of silence/quietness as complete calm or absence of disturbance. It is not clear from the expert texts how silence/quietness is distinct from other features such as stillness that also reflect the absence of disturbances. As a separate matter, silence/quietness has connections with all the other features of the contentless experiences, but the closeness of the connections varies. Our work uncovers fine distinctions and ambiguities which lead to new research questions that can be explored in future studies. (shrink)

In contentless experience there is an absence of mental content such as thought, perception, and mental imagery. The path to contentless experience in meditation can be taken to comprise the meditation technique, and the experiences on the way to the contentless “goal-state/s”. Shamatha, Transcendental, and Stillness Meditation are each said to access contentless experience, but the path to that experience in each practice is not yet well understood from a scientific perspective. We have employed evidence synthesis to select and review (...) 135 expert texts from those traditions. In this paper we describe the techniques and interim-states based on the expert texts and compare them across the practices on key dimensions. Superficially, Shamatha and Transcendental Meditation appear very different to Stillness Meditation in that they require bringing awareness to a meditation object. The more detailed and systematic approach taken in this paper indicates that posturally Shamatha is closer to Stillness Meditation, and that on several other dimensions Shamatha is quite different to both other practices. In particular, Shamatha involves greater measures to cultivate attentional stability and vividness with respect to an object, greater focusing, less tolerance of mind-wandering, more monitoring, and more deliberate doing/control. Achieving contentless experience in Shamatha is much slower, more difficult, and less frequent. The findings have important implications for taxonomies of meditation and for consciousness, neuroscientific, and clinical research/practice, and will provide new and useful insights for meditation practitioners. (shrink)

In Glauben und Wissen, Hegel criticizes Kant for drawing a deep division between sensibility and understanding. Hegel suggests that Kant’s faculty of productive imagination is a step toward uniting intuition and concept in an original unity out of which the two arise, but this requires him to treat the productive imagination in ways Kant would not approve. I argue that Kant’s doctrine of the schematism offers an advance on the productive imagination when it comes to solving the intuition/concept dualism Hegel (...) critiques, although there remain serious problems with which Hegel would take issue. Although the schematism might answer some of the criticisms Hegel aims at the intuition/concept dualism, it does not solve the related problem Hegel finds in Kant, namely the dualism of cognition and thing-in-itself. (shrink)

In recent years the general view of the theology and morality of Aeschylus which we still find expressed in the most popular handbooks of Greek tragedy has come under fire; fire which its defenders have so far been unwilling or unable to return. That Aeschylus was a bold religious innovator propounding advanced doctrines can no longer be assumed without argument; neither can one take for granted that his outlook on morality in general and on justice in particular was as advanced (...) as it was once usual to maintain. (shrink)

So many scholars nowadays believe that the final scenes of the Seven against Thebes as we have them have been considerably distorted and interpolated that some may not be aware that such an opinion was first expressed little more than ioo years ago. The first scholar to do so was A. Scholl, who afterwards recanted.

The last few words involve a difficulty which only Wilamowitz has perceived. The adjective could do either of two jobs: it could mean ‘without a feast’ or it could be part of an expression like meaning ‘a feast that is no feast’ and made on the model, etc. If it is being used in the former way, follows oddly upon.

No project lay nearer to the heart of Eduard Fraenkel during his last years than that of promoting a reprint of the famous book Die dramatische Technik des Sophokles, by Tycho von Wilamowitz-Moellendorff, which was first published as volume xxii of Philologische Untersuchungen in 1917. Tycho Wilamowitz, the son of Ulrich von Wilamowitz-Moellendorff and the grandson of Theodor Mommsen, was killed fighting against the Russians near Ivangorod on the night of 14/15 October 1914. After his death the manuscript was prepared (...) for publication by his friend Ernst Kapp, who has explained in the foreword of the book the nature of his services. (shrink)

Dr. G. S. Kirk suggested that the last line here referred to ‘a fantastically ithyphallic bridegroom’. Professor Lloyd-Jones , while professing uncertainty as to the rightness of this suggestion, thought it ‘quite likely’, and adduced in support of it a story from Tzetzes on Lycophron 1378 , a story told also, but in different words, in the Etymologicum Magnum s.v. , and containing in this second version the words ‘used in just the sense which Dr. Kirk ascribed to (...) it in Sappho’. (shrink)

All commentators so far as I know have believed that lines 100–1 are simply a vague paraphrase for Jebb's translation may be taken to represent the usual view: ‘… is he threading the straits of the sea, or hath he found an abode on either continent?’ But this sense is not only poetially inept, but linguistically impossible.

Authenticity is a formidable word, a dangerous word, a word whereby fortunes, careers, and reputations can be won or lost. But what has authenticity to do with art? The essays in this book focus on their turbulent relationship ranging across the fields of literature and the visual arts and philosophy, and covering topics as diverse as fictional biography, portraiture, copies and forgeries, war photography, letters as testimony and texts in translation. The reader encounters erasmus, Rousseau, Heidegger, Beckett, Borges, and Houellebecq; (...) engages with subjects as varied as Sir Gawain and the Green Knight, da Vinci's La Belle Ferronniere, and Million Dollar Baby. (shrink)

The ancient Greeks used the term _catharsis_ for the cleansing of both the body by medicine and the soul by art. In this inspiring book, internationally renowned cardiologist Andrzej Szczeklik draws deeply on our humanistic heritage to describe the artistry and the mystery of being a doctor. Moving between examples ancient and contemporary, mythological and scientific, _Catharsis_ explores how medicine and art share common roots and pose common challenge. As Szczeklik explores such subjects as the mysteries of the heart rhythm, (...) the secret history of pain relief, the enigmatic logic of epidemics, near-death or out-of-body experiences, and many more, he skillfully weaves together classical literature, the history of medicine, and moving anecdotes from his own clinical experiences. The result is a life-affirming book that will enrich the healing work of patients and doctors alike and make an invaluable contribution to our still-expanding vision of the art of medicine. “Drawing on mathematical ideas, physics, music, mythology, clinical science and clinical practice, Szczeklik never forces the issues or compels.... He approaches the questions of pain, suffering and death that confront the doctor daily and that the world regards as ‘terrible, futile, and destructive.’ Here he stresses the immense value of the experienced doctor in helping patients in the loneliness of pain.”—Niall O'Higgins, _Times Higher Education Supplement_. (shrink)

The ancient Greeks used the term _catharsis_ for the cleansing of both the body by medicine and the soul by art. In this inspiring book, internationally renowned cardiologist Andrzej Szczeklik draws deeply on our humanistic heritage to describe the artistry and the mystery of being a doctor. Moving between examples ancient and contemporary, mythological and scientific, _Catharsis_ explores how medicine and art share common roots and pose common challenges. The process of diagnosis, for instance, belongs to a world of magic (...) and metaphor; the physician must embrace it like a poem or painting, with particular alertness and keen receptivity. Speculation on ways to slow aging through genetics, meanwhile, draws directly on the dream of immortality that artists and poets have nourished through the ages. And the concept of _catharsis_ itself has made its way from the writings of Aristotle to today's growing interest in the benefits of music to health, especially in newborns. As Szczeklik explores such subjects as the mysteries of the heart rhythm, the secret history of pain relief, the enigmatic logic of epidemics, near-death or out-of-body experiences, and many more, he skillfully weaves together classical literature, the history of medicine, and moving anecdotes from his own clinical experiences. The result is a life-affirming book that will enrich the healing work of patients and doctors alike and make an invaluable contribution to our still-expanding vision of the art of medicine. (shrink)