Medeiros et al. implement a mixed methods approach to explore the mechanisms underlying individual transformation during mindfulness-based interventions. We provide critiques, questions and ….

Emotionally arousing events may disrupt the ability to bind together different features of items to their context; this holds true both for spatial binding and temporal binding. Nonetheless, memory for emotional events may be enhanced in certain situations. A key factor that might explain the memory–emotion relation is represented by individual differences in cognition. The present study investigated temporal binding for neutral and negative events in a group of 50 undergraduate students, focusing on the role of individual differences in working (...) memory. Temporal binding was assessed with sorting accuracy of various pictorial scripted events, 24 h after encoding. Results showed that higher backward digit span predicted higher binding accuracy; importantly, this was qualified by the interaction with valence, such that higher backward digit span predicted better performance for negative, but not neutral, events. It is concluded that working memory facilitates binding of emotional events to their temporal context during encoding, creating a strong representation, and favouring later retrieval of such bound representations. (shrink)

In contemporary Western culture, death has been widely censured because of its conceptual implications; it lies at the boundaries between reductionism and metaphysics. There is not yet an efficacious epistemology able to solve this contraposition and its consequent collision with science and tradition. This article analyzes Near Death Experiences as a prototypical argument in which the two perspectives conflict. Specifically, it analyzes the epistemological antinomies of the ontological representations of death, inhering in passage versus absolute annihilation. Indeed, the NDEs theme (...) permits the examination of the logical contradiction between monistic reductionism and its ontological counterpart to improve the discovery of a new paradigm that integrates the ecological with eternalist views. (shrink)

This paper investigates the question of how we manage to single out the natural number structure as the intended interpretation of our arithmetical language. Horsten submits that the reference of our arithmetical vocabulary is determined by our knowledge of some principles of arithmetic on the one hand, and by our computational abilities on the other. We argue against such a view and we submit an alternative answer. We single out the structure of natural numbers through our intuition of the absolute (...) notion of finiteness. (shrink)

The article deals with the theme of love in St. Augustine, highlighting how the Bishop of Hippo himself evolved in his own life from carnal and worldly loves to the love of God, as it appears fundamentally in his Confessions. In order to understand the dynamics of love, the article offers a brief summary of the Augustinian anthropological scheme. Some texts from the In epistulam Iohannis ad Parthos tractatus and the In Iohannis euangelium tractatus are also highlighted in order to (...) corroborate the conclusions of the article. (shrink)

Molecular interactions are at the origin of life. How molecules get at different locations in the cell and how they locate their partners is a major and partially unresolved question in biology that is paramount to signaling. Spatio‐temporal correlations of fluctuating fluorescently tagged molecules reveal how they move, interact, and bind in the different cellular compartments. Methods based on fluctuations represent a remarkable technical advancement in biological imaging. Here we discuss image analysis methods based on spatial and temporal correlation of (...) fluctuations, raster image correlation spectroscopy, number and brightness, and spatial cross‐correlations that give us information about how individual molecules move in cells and interact with partners at the single molecule level. These methods can be implemented with a standard laser scanning microscope and produce a cellular level spatio‐temporal map of molecular interactions. (shrink)

Television series seem to be made of images and sounds just like films, but Luca Bandirali and Enrico Terrone suggest an alternate framework for understanding television series: as concepts whereby narratives made of images and sounds can be constructed.

Enrico Berti has had a profound influence on the birth and development of Italian studies in ancient philosophy. His sizable work has shaped a great part of Italian studies on Aristotle and other ancient philosophers. To celebrate him and express their gratitude for his work, some of his disciples, under the impulse of the late Franco Volpi, have brought together a volume in his honour, requesting the participation of some foreign scholars particularly close to him. The volume comprises essays (...) by Pierre Aubenque, Jonathan Barnes, Terence H. Irwin, Tomás Calvo-Martínez, Jaap Mansfeld, Pierre Pellegrin, Gerhard Seel and Alejandro G. Vigo. The main themes are Aristotle's metaphysics and practical philosophy. A Selected Bibliography by E. Berti himself completes the volume."--Publisher's website. (shrink)

Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...) the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Noël Carroll, Trevor Ponech, and Carl Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Gregory Currie's account can do so by relying on the notion of trace, but this involves an undesirable side effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces (...) of their subjects, as, for instance, documentaries that resort to reenactment. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? This article affirmatively answers by relying on the notion of perceptual belief, that is, a belief that one can form by endorsing the demonstrative content of one's perception. While documentaries primarily involve the formation of perceptual beliefs, docudramas invite us to form nonperceptual beliefs by primarily involving the formation of perceptual imaginings. That is why docudramas are not documentaries. By contrast, a documentary that resorts to reenactment primarily involves the formation of perceptual beliefs, namely, perceptual beliefs about the reenactment itself. (shrink)

I. In analytic philosophy, so-called 'univocalism' is the prevailing interpretation of the meaning of terms such as 'being' or 'existence', i.e. the thesis that these terms have only one meaning (see Russell, White, Quine, van Inwagen). But some analytical philosophers, inspired by Aristotle, maintain that 'being' has many senses (Austin, Ryle). II. Aristotle develops an argument in favour of this last thesis, observing that 'being' and 'one' cannot be a single genus, because they are predicated of their differences (Metaph. B (...) 3). III. But 'being' for Aristotle has also a unity, i.e. 'focal meaning', which coincides with substance (Metaph. Γ 2), and substance has not only an ontological priority, but also a logical priority, in respect to the other beings, as was shown by G. E. L. Owen. IV. This 'focal meaning' cannot be identified with primary substance, i.e. with the unmovable mover, as some interpreters pretend, because this latter has only an ontological, not a logical, priority in respect to the world. V. The impossibility of this interpretation results from Aristotle's rejection of an essence and a substance of being (Metaph. B 4), i.e. the rejection of what the Christian philosophers called esse ipsum subsistens. (shrink)

In Categories 12 (14b11–22), Aristotle famously claims that [1] true sentences and reality stand in a mutually implicative relationship, and that [2] reality causes the truth of sentences but not vice versa. In this paper, I first argue that Boethius’ reading of the above passage led medieval logicians to assess [1] and [2] within the framework of a theory of consequence. Then, I consider two important questions raised by Boethius and later logicians in relation to [1] and [2], and, namely, (...) whether the implication described in [1] really satisfies the requirement for consequence, and whether the truthmaking relation posited in [2] can be boiled down to the relation of consequence. Boethius himself, I argue, answered affirmatively to both questions and thus (much like some contemporary truthmaker theorists) committed himself to an account of truthmaking as entailment. I then consider criticisms to Boethius’ account found in the writings of William of Champeaux, two anonymous authors connected to the school of Jocelyn of Soissons, Peter Abelard, and the author of the Ars Meliduna. Here, I argue that the emergence of a concern for relevance drives the need for abandoning Boethius’ account as well as his conception of truthmaking as entailment. (shrink)

Medical discoveries have led to an unprecedented level of competence in the field, but it is as if the patient is finding it increasingly difficult to get the right holistic care. Medicine must be put on a path towards being humanised.

Works of art are usually meant to elicit psychological effects from their audiences whereas paradigmatic technical artifacts such as hammers or cars are rather meant to produce physical effects when used. This suggests that works of art and technical artifacts are sharply different entities. However, recent developments in the cognitive sciences and the philosophy of technology have individuated special artifacts, namely cognitive and affective artifacts, which also generate psychological effects. In particular, affective artifacts, which have the capacity to alter the (...) affective condition of agents, seem to share crucial features with works of art. Can we subsume works of art under that kind? I will argue that we cannot. Still, comparing art with affective artifacts will help us to clarify the relationship between art and technology, and to introduce a new category, namely the experiential artifact, which can properly encompass works of art. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this purpose, I will (...) rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

The idea of an ?inversion principle?, and the name itself, originated in the work of Paul Lorenzen in the 1950s, as a method to generate new admissible rules within a certain syntactic context. Some fifteen years later, the idea was taken up by Dag Prawitz to devise a strategy of normalization for natural deduction calculi (this being an analogue of Gentzen's cut-elimination theorem for sequent calculi). Later, Prawitz used the inversion principle again, attributing it with a semantic role. Still working (...) in natural deduction calculi, he formulated a general type of schematic introduction rules to be matched ? thanks to the idea supporting the inversion principle ? by a corresponding general schematic Elimination rule. This was an attempt to provide a solution to the problem suggested by the often quoted note of Gentzen. According to Gentzen ?it should be possible to display the elimination rules as unique functions of the corresponding introduction rules on the basis of certain requirements?. Many people have since worked on this topic, which can be appropriately seen as the birthplace of what are now referred to as ?general elimination rules?, recently studied thoroughly by Sara Negri and Jan von Plato. In this study, we retrace the main threads of this chapter of proof-theoretical investigation, using Lorenzen's original framework as a general guide. (shrink)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)