Viewing the brain as an organ of approximate Bayesian inference can help us understand how it represents the self. We suggest that inferred representations of the self have a normative function: to predict and optimise the likely outcomes of social interactions. Technically, we cast this predict-and-optimise as maximising the chance of favourable outcomes through active inference. Here the utility of outcomes can be conceptualised as prior beliefs about final states. Actions based on interpersonal representations can therefore be understood as minimising (...) surprise – under the prior belief that one will end up in states with high utility. Interpersonal representations thus serve to render interactions more predictable, while the affective valence of interpersonal inference renders self-perception evaluative. Distortions of self-representation contribute to major psychiatric disorders such as depression, personality disorder and paranoia. The approach we review may therefore operationalise the study of interpersonal representations in pathological states. (shrink)

In works by filmmakers from Bertolucci to Spielberg, debauched images of nazi and fascist eroticism, symbols of violence and immorality, often bear an uncanny resemblance to the images and symbols once used by the fascists themselves to demarcate racial, sexual, and political others. This book exposes the "madness" inherent in such a course, which attests to the impossibility of disengaging visual and rhetorical constructions from political, ideological, and moral codes. Kriss Ravetto argues that contemporary discourses using such devices actually (...) continue unacknowledged rhetorical, moral, and visual analogies of the past. Against postwar fictional and historical accounts of World War II in which generic images of evil characterize the nazi and the fascist, Ravetto sets the more complex approach of such filmmakers as Pier Paolo Pasolini, Liliana Cavani, and Lina Wertmuller. Her book asks us to think deeply about what it means to say that we have conquered fascism, when the aesthetics of fascism still describe and determine how we look at political figures and global events. Book jacket. (shrink)

This book exposes the "madness" inherent in such a course, which attests to the impossibility of disengaging visual and rhetorical constructions from political, ideological, and moral codes.

We argue that while it is a valuable contribution, Carruthers' model may be too restrictive to elaborate our understanding of the development of mindreading and metacognition, or to enrich our knowledge of individual differences and psychopathology. To illustrate, we describe pertinent examples where there may be a critical interplay between primitive social-cognitive processes and emerging self-attributions.

This article suggests that studies of self-esteem using scales have reached a dead end, and suggest alternative directions. First we show how significance tests have obscured meager results. According to reviews, this huge body of research has yielded no substantial findings. Some sub-fields show consistent, but trivially small, effects; reviews of the entire field show none at all. Most important, the size of effects does not seem to be increasing. Three questions are raised: 1. Are new standards needed to determine (...) when to continue or stop a given line of research? 2. Are new approaches needed alternative to standardized scales and statistical tests? 3. Should future studies of self-esteem emphasize feeling and social components at least as much as cognitive components? Studies of self-esteem using interview techniques by George Brown and his colleagues suggest the need to move closer to actual data. An exploratory study that takes this direction a step further is described. We analyze social and cognitive/emotional elements second by second in discourse about topics relevant to self-appraisal and self-feeling. (shrink)

This manuscript presents a demonstration study of Quiet Time, a classroom-based Transcendental Meditation intervention. The aim of the study is to assess the feasibility of implementing and evaluating QT in two pilot settings in the United Kingdom and Ireland. This study contributes to the field by targeting middle childhood, testing efficiency in two settings operating under different educational systems, and including a large array of measures. First, teacher and pupil engagement with QT was assessed. Second, the feasibility of using a (...) quasi-experimental design and a wide range of instruments to measure changes in pupil outcomes before and after the intervention was assessed. This allows us to obtain information about which instruments might be feasible to administer and most sensitive to change. The first setting included 89 students from a primary school in the United Kingdom: those in sixth grade received the QT intervention, while those in fifth grade practiced meditation using the Headspace application. The second setting included 100 fifth- and sixth-grade students from two schools in Ireland: one received the QT intervention, the other served as a control. Recruitment and retention rates were high in both settings, and the intervention was feasible and accepted by students, parents and teachers. Implementation fidelity was lower in the United Kingdom setting where delivery started later in the school year and the practice was affected by preparation for the Standard Assessment Tests. These results show that QT may be feasibly delivered in school settings, and suggest the use of a compact battery of tests to measure impact. We find suggestive evidence that the intervention affected executive function as children who practiced QT showed improved working memory in both settings. In the Irish setting, pupils in the QT group had improved ability to control responses. These results have implications for future studies by a) demonstrating that implementation fidelity is highly context dependent and b) providing suggestive evidence of the malleability of children’s skills in middle childhood. The results of this demonstration study will be used to inform a larger RCT of the QT intervention. (shrink)

When building causal knowledge in behavioural genetics, the natural randomisation of genotypes at conception (approximately analogous to the artificial randomisation occurring in randomised controlled trials) facilitates the discovery of genetic causes. More importantly, the randomisation of genetic material within families also enables a better identification of (environmental) risk factors and aetiological pathways to diseases and behaviours.

Until recently, dance was not considered to warrant copyright protection because it existed only as a live performance that was not fixed in a ‘tangible medium of expression’. Not being an object, it could not be property. But the more we try to fold dance into existing modes of copyright and conventional notions of property, the more it resists, upsetting the core assumptions of Locke's social contract theory. Legal scholars argue that the expansion of copyright protection shrinks the public domain. (...) While copyright has become more important for dancers and choreographers who wish to control the appropriation of their work that is now made available to millions of end-users online, it also potentially restricts them from engaging in a dialog with other dancers or building on inspiring dance moves across communities. This paper investigates notions of property that rely on both the commons and individual personhood in the context of dance. (shrink)

While the initial reception of Alfred Hitchcock's Vertigo was unspectacular, it made its presence felt in a host of other films – from Chris Marker's Sans Soleil, to Brian De Palma's Obsession, and David Lynch's Mulholland Dr.. What seemed to have eluded the critics at the time is that Vertigo is a film about being haunted: by illusive images, turbulent emotions, motion and memory, the sound and feeling of falling into the past, into a nightmare. But it is also a (...) shrewdly reflexive film that haunts filmmakers, critics, and artists alike, raising fundamental questions about the ontology of moving images and the regime of fascination that churns them out. Douglas Gordon's Feature Film, D.N. Rodowick's The Wanderers, and Lynn Hershman's VertiGhost are contemporary examples of how the appropriation and contemplation of some the film's most iconic motifs, themes and strategies ask us to rethink the relation of fetishism to fabulation, and supplementarity to dissimulation and social engineering. Feature Film, The Wanderers, and VertiGhost are supplementary works, but like the original film they are about duplicity, doppelgänger, and dissimulation. What interests us is how they challenge the authority over, or even proximity to, that which returns in the form of the supplement. And ultimately, attaching themselves to the chain of forgers and forgeries, these supplementary works take their place in the vertiginous sequence of substitutions the film established: a neat allegory for a reign of the digital ghosting that Hitchcock could never have anticipated. (shrink)

Digital cameras and motion capture technologies that document and share creative practices have transformed the way we think about dance as an embodied knowledge as well as the way we experience it bodily. Computational media, which not only records and archives but also calculates, analyses and models dance, further complicates its ontological status. This move to document and inscribe dance in a tangible medium marks a shift from understanding dance as an ungraspable event towards conceiving of dance as a tangible (...) process that can be collected, transmitted, repeated and packaged or archived as an object. I look at two dance works – Matthias Sperling’s Loop Atlas and Siobhan Davies and Anri Sala’s Solo in the Doldrums – that trouble conventional notions of embodiment and its relationship to both presence and absence, at the same time they challenge how computational media fixates on figures and gestures that can be traced, mapped and calibrated. (shrink)

This article examines how ‘trauma’ has been conceptualised in the unresolved state of mind classification in the Adult Attachment Interview, introduced by Main and Hesse in 1990. The unresolved state of mind construct has been influential for three decades of research in developmental psychology. However, not much is known about how this measure of unresolved trauma was developed, and how it relates to other conceptualisations of trauma. We draw on previously unavailable manuscripts from Main and Hesse's personal archive, including various (...) editions of unpublished coding manuals, and on Main–Bowlby correspondence from the John Bowlby Archive at the Wellcome Trust in London. This article traces the emergence of the unresolved state of mind classification, and examines the assumptions about trauma embedded in the construct. These assumptions are situated both in the immediate context of the work of Main and Hesse and in terms of wider discourses about trauma in the period. Our analysis considers how a particular form of trauma discourse entered into attachment research, and in doing so partly lost contact with wider disciplinary study of trauma. (shrink)

Counterfactual analysis is an interesting feature of thought experiments, because it requires the imagination of alternative states of the world (see also publications by Fearon, Lebow and Stein, Reiss, and Tetlock and Belkin, who suggest the same). In historical analysis, the use of imagination is often the focus of criticisms of such counterfactual analysis. In this article, I consider three strategies for constraining imagination: making limited counterfactual changes, limiting counterfactual changes to the decisions of important figures, and using evidence (...) to restrict the scope for imagination. Given the focus of this special issue, I will relate this discussion to Lewis’s and Woodward’s analyses of counterfactuals in the philosophy of science. I show that counterfactual analysis in historical cases has some resemblance to Lewis’s and Woodward’s analyses, but that what Lewis calls “transition periods” cannot be left entirely vague, as Lewis suggests, nor can counterfactual changes be seen simply as interventions, as Woodward suggests. I propose that efforts to limit imagination in historical counterfactuals are ultimately problematic, but that imagination can nevertheless play a useful role in counterfactual analysis. (shrink)

In its most recent form, the debate about the relationship between quantitative and qualitative methodology in political science has been shaped by the publication of Designing Social Inquiry: Scientific Inference in Qualitative Research by Gary King, Robert O. Keohane, and Sidney Verba in 1994 (hereafter DSI). The focus of this debate has been case study research. DSI advocates that qualitative research, particularly case study research, be modeled on the template of quantitative research. The authors claim that all research has the (...) same logic of inquiry and that this is most clearly exemplified in quantitative work. I argue that the underlying philosophy of science of DSI is monistic and positivistic in ways not productive for understanding various different purposes that political science knowledge may have. Different methodologies have different strengths and so are suited to different ends. I examine this in relation to Julian Reiss’s discussion of different concepts of causality and argue that case study research is suited to understanding causal mechanisms in ways that make such research better suited to inform policy decisions. I finish with an example using David Fearon’s 2006 Congressional Testimony on Iraq. (shrink)

What does it mean to"do theory" in America? In what ways has "French Theory" changed American intellectual and artistic life? How different is it from what French intellectuals themselves conceived, and what does all this tell us about American intellectual life? Is "French Theory" still a significant force in America, raising conceptual questions not easily answered? In this volume of new work--including the French writers Julia Kristeva, Jacques Derrida, Jean Baudrillard, and Gilled Delezue, as well as essays by Sylvere Lotringer (...) and Sande Cohen, Mario Biagoli, Elie During, Chris Kraus, Alison Gingeras, and Kriss Ravetto, among others--French theorists assess the impact and reception of their work in America, and American-based critics account for their effects in different areas of cultural criticism and art over the last thirty years. (shrink)