Background The European Union aims to optimize patient protection and efficiency of health-care research by harmonizing procedures across Member States. Nonetheless, further improvements are required to increase multicenter research efficiency. We investigated IRB procedures in a large prospective European multicenter study on traumatic brain injury, aiming to inform and stimulate initiatives to improve efficiency. Methods We reviewed relevant documents regarding IRB submission and IRB approval from European neurotrauma centers participating in the Collaborative European NeuroTrauma Effectiveness Research in Traumatic Brain Injury. (...) Documents included detailed information on IRB procedures and the duration from IRB submission until approval. They were translated and analyzed to determine the level of harmonization of IRB procedures within Europe. Results From 18 countries, 66 centers provided the requested documents. The primary IRB review was conducted centrally or locally and primary IRB approval was obtained after one, two or three review rounds with a median duration of respectively 50 and 98 days until primary IRB approval. Additional IRB approval was required in 55% of countries and could increase duration to 535 days. Total duration from submission until required IRB approval was obtained was 114 days and appeared to be shorter after submission to local IRBs compared to central IRBs. Conclusion We found variation in IRB procedures between and within European countries. There were differences in submission and approval requirements, number of review rounds and total duration. Research collaborations could benefit from the implementation of more uniform legislation and regulation while acknowledging local cultural habits and moral values between countries. (shrink)

A great deal of interest and excitement surround the interface between the philosophy of biology and the philosophy of psychology, yet the area is neither well defined nor well represented in mainstream philosophical publications. This book is perhaps the first to open a dialogue between the two disciplines. Its aim is to broaden the traditional subject matter of the philosophy of biology while informing the philosophy of psychology of relevant biological constraints and insights.The book is organized around six themes: functions (...) and teleology, evolutionary psychology, innateness, philosophy of mind, philosophy of science, and parallels between philosophy of biology and philosophy of mind. Throughout, one finds overlapping areas of study, larger philosophical implications, and even larger conceptual ties. Woven through these connections are shared concerns about the status of semantics, scientific law, evolution and adaptation, and cognition in general. Contributors André Ariew, Mark A. Bedau, David J. Buller, Paul Sheldon Davies, Stephen M. Downes, Charbel Niño El-Hani, Owen Flanagan, Peter Godfrey-Smith, Todd Grantham, Valerie Gray Hardcastle, Gary Hatfield, Daniel W. McShea, Karen Neander, Shaun Nichols, Antonio Marcos Pereira, Tom Polger, Lawrence A. Shapiro, Kim Sterelny, Robert A. Wilson, William C. Wimsatt. (shrink)

It is generally agreed that Edmund Husserl’s theory of depiction describes a three-fold experience of seeing something in pictures, whereas Richard Wollheim’s theory is a two-fold experience of seeingin. The aim of this article is to show that Wollheim’s theory can be interpreted as a three-fold experience of seeing-in. I will first give an overview of Wollheim and Husserl’s theories of seeing-in, and will then show how the concept of figuration in Wollheim’s theory is analogous to the concept of the (...) image subject as the depicted object in Husserl’s theory. I will claim that our experience of non-figurative pictures is a two-fold seeing-in, while that of figurative pictures is a three-fold seeing-in. (shrink)

The aim of this article is to examine Edmund Husserl’s theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the view that the synthetic (...) unity of the aesthetic object is limited. Moreover, following Husserl’s theory, it becomes questionable whether strongly site-specific art is art at all. I try to answer these objections by explaining how the artist prescribes the appearances and boundaries of a strongly site-specific object of art, thereby satisfying the demand for the limitedness of the synthetic unity of the aesthetic object. (shrink)

The article explores the possibility of defining unaided ready-mades as objects of art. It starts from the assumption that Edmund Husserl’s notion of horizon and Arthur Danto’s notion of artworld have similar meanings. Accordingly, it argues that unaided ready-mades are objects of art that appear with unique cultural horizons called artworlds. The aim is to show that the artworld is an external co-determining horizon that is sufficient for determining unaided ready-mades to be artworks.

The central theme of my dissertation is Husserl’s phenomenological analysis of how we experience images. The aim of my dissertation is twofold: 1) to offer a contribution to the understanding of Husserl’s theory of image consciousness, aesthetic consciousness and art, and 2) to find out whether Husserl’s theory of the experience of images is applicable to modern and contemporary art, particularly to strongly site-specific art, unaided ready-mades, and contemporary films and theatre plays in which actors play themselves. Husserl’s commentators and (...) followers interested in his theory of the experience of images have mostly focused on the concept of “phantasy” [Phantasie] or “imagination.” Accordingly, the main interest is in the notion of the “image object” [Bildobjekt] and in the question of how something absent can appear in an image. In my dissertation, the central concept is “image consciousness” [Bildbewusstsein] which is a unique kind of experience: it involves both perception and imaging. I want to show that Husserl’s early theory of depictive image consciousness and his later theory of the experience of images can both be subsumed under the term “image consciousness”. I want to point out that Husserl’s revision of his earlier theory of image consciousness results in the distinction between depictive and non-depictive image consciousness, and that revision did not amount to an abandoning of the theory of “image consciousness.” In addition, Husserl divides depictive consciousness into positing and non-positing depictive consciousness. In my dissertation, I take the theory of image consciousness as the basis for explaining the experience of images, including the experience of visual works of art. In Husserl’s definition of art: “Without an image, there is no fine art”. The theory of image consciousness also plays an important role in explaining aesthetic consciousness since the focus is on “the How of the image object’s depicting”. My aim is to accentuate the subject in image consciousness, rather than the image object. I want to show that whether the subject is involved in image consciousness or not makes the difference if we have a two-fold or three-fold experience of seeing-in. In this way, I can also compare Husserl and Wollheim’s theories of seeing-in: a comparison that has received minimal attention in the literature of pictorial experience until now. In addition, I aim to show that according to Husserl’s theory, the image subject is involved only in depictive image consciousness. Moreover, I try to show that it is more difficult to define the image subject than the image object for the subject cannot be equated with the referent. Lastly, I will point out that Husserl mentions the possibility that it is the appearance of the subject rather than the image object appearance that we are focused on in aesthetic consciousness. Another topic that has received minimal attention until now is Husserl’s idea that depiction is involved in the experience of theatrical performance. The latter is primarily used by Husserl as an example of non-depictive image consciousness. I will examine how depiction can be involved in the experience of a theatre play in the case of actors playing themselves onstage. I will show that, in light of this example, either Husserl’s theory of depiction need to be revised or we cannot say that depiction is involved when an actor plays a real life person. Again, the key issue is how the subject appears. Thus, I will try to apply Husserl’s theory of depiction in explaining our experience of theatrical performances. I will also try to use his theory of aesthetic consciousness in describing the experience of strongly site-specific art and point out what the difficulties are of using the idea of the limited synthetic unity of the aesthetic object in the case of strongly site-specific art which seems to have no prescribed margins that could correspond to the limitedness. In addition, I will show how Husserl’s phenomenology, especially the notion of horizon, can be used to define visual art. I will defend the view that an object of art can be defined as art through an external co-determining horizon – the artworld. My dissertation is divided into four parts. In the first part, I give an overview of the development of Husserl’s philosophy from the period 1989 – 1920s with a special focus on the development of the theory of image consciousness. In that part, I introduce the notions of depictive and non-depictive image consciousness. In the second part, special focus is on the depictive image consciousness or the theory of depiction. I will first explain the phenomenological approach to the experience of images and what the difference and similarities are between Husserl and Wollheim’s theory of seeing-in. Then I give more detailed description of the three objects or objectivities in image consciousness with the emphases on the image subject. Also, how the objects are related to each other: the necessary conflicts and a resemblance in image consciousness. Lastly, I will analyse Husserl’s claim that depiction might be involved in the experience of theatrical performances and I will show what the difficulties are of applying this idea in the case of a theatre play in which actors play themselves. In the third part, I examine Husserl’s theory of aesthetic consciousness. I will first point out how the notion of “aesthetic object” is equated with that of “work of art” by Husserl. Then I will show the similarities between the aesthetic attitude and phenomenological attitude in general, and how aesthetic consciousness differs from image consciousness according to Husserl. In this vein, I will point out the difficulty of defining whether, following Husserl’s texts, we are directed to image object appearance or the appearance of the image subject in aesthetic consciousness. Lastly, I will analyse Husserl’s idea of the limited synthetic unity of the aesthetic object and whether this theory holds in the case of the experience of strongly site-specific art. In the fourth part, I will give an overview of Husserl’s notes on art and his attempt to define art. The question whether every visual work of art must be an image is also addressed. The fourth part is divided into two sections. Firstly, I will show how some of Husserl’s commentators analyse artworks as analogues to or illustrations for Husserl’s phenomenology: how some works of art are doing phenomenology. Secondly, how Husserl’s phenomenology can be used to analyse our experience of artworks. In this section, I will examine Husserl’s claim that all works of visual art are images. Also, I will show how Husserl’s notion of the external co-determining horizon can be used to define art. Some material used in my dissertation has been published in the following journals: Proceedings of the European Society for Aesthetics, South African Journal of Philosophy, 2013), Kunstiteaduslikke Uurimusi, 2014), Postgraduate Journal of Aesthetics Spring 2014). (shrink)

The tradition of pragmatism has, especially since Dewey, been characterized by a commitment to nonreductive naturalism. The notion of emergence, popular in the early decades of the twentieth century and currently re-emerging as a central concept in metaphysics and the philosophy of mind, may be useful in explicating that commitment. The present paper discusses the issue of the reality of emergent properties, drawing particular attention to a pragmatic way of approaching this issue. The reality of emergents can be defended as (...) a pragmatically-useful ontological commitment; hence, pragmatism can be employed as a tool in the debate over the structure and reality of emergence. This strategy of justifying ontological commitments is examined through historical and systematic discussions of the pragmatist tradition. It turns out, among other things, that while classical pragmatists did not specify any technical notion of emergence in the contemporary sense, their non-reductively naturalist views are relevant to the more recent emergence discussions -- especially because they rejected the metaphysical realism typical of today’s ontologically-oriented emergence theories. (shrink)

The Peircean semiotic approach to information that we developed in previous papers raises several new questions, and shows both similarities and differenceswith regard to other accounts of information. We do not intend to present here any exhaustive discussion about the relationships between our account and otherapproaches to information. Rather, our interest is mainly to address its relationship to ideas about information put forward by Gregory Bateson and Eva Jablonka. We conclude that all these authors offer quite broad concepts of information, (...) but we argue that they are just as broad as they should be, since information is in itself a sweeping concept. Furthermore, all of them suggest a processual approach to information, which departs from the treatment of information as something that is contained in some structure (e.g., in sequences of nucleotides) and moves towards an understanding of information as a process — in terms of our account, a semiotic process, i.e., semiosis. (shrink)

Bohmian mechanics is a theory about point particles moving along trajectories. It has the property that in a world governed by Bohmian mechanics, observers see the same statistics for experimental results as predicted by quantum mechanics. Bohmian mechanics thus provides an explanation of quantum mechanics. Moreover, the Bohmian trajectories are defined in a non-conspiratorial way by a few simple laws.

This study analyzed the relation between mental time travel (MTT) and the ability to produce a storytelling focusing on global coherence, which is one of the most notable characteristics of narrative discourse. As global coherence is strictly tied to the temporal sequence of the events narrated in a story, we hypothesized that the construction of coherent narratives would rely on the ability to mentally navigate in time. To test such a hypothesis, we investigated the relation between one component of MTT—namely, (...) episodic future thinking (EFT)—and narrative production skills by comparing the narratives uttered by 66 children with high-functioning autism spectrum disorder (ASD) with those produced by 66 children with typical development. EFT was assessed by administering a task with minimal narrative demands, whereas storytelling production skills were assessed by administering two narrative production tasks that required children to generate future or past episodes with respect to the target stimuli. The results showed that EFT skills were impaired only in a subgroup of children with ASD and that such subgroup performed significantly worse on the narrative production task than ASD participants with high EFT skills and participants with typical development. The practical and theoretical implications of these findings are discussed. (shrink)

The controversy over the notion of emergence has recently re-emerged But a rigorous debate concerning how it might be explained or defined is often lacking Emergence is discussed here under two strict conditions (l) emergents can be predictable from the knowledge about a system's parts, (ll) emergents can be regarded as dependent on, and deternuned by, the system's micro-structure O'Connor's definmon of an emergent property is taken as a starting-point for a new definmon, incorporating Emmeche and colleagues' analysis of dounward (...) causation and Baas' treatment of emergence It is not necessary to assume that this defintaon might provide the solution to the problem of emergence Rather, theoretical pluralism regarding different pragmatically-workable notions of emergence is welcome The reality of emergents is discussed here from the standpoint of Dennet's mild realism. (shrink)

Bohmian mechanics is a quantum theory with a clear ontology. To make clear what we mean by this, we shall proceed by recalling first what are the problems of quantum mechanics. We shall then briefly sketch the basics of Bohmian mechanics and indicate how Bohmian mechanics solves these problems and clarifies the status and the role of of the quantum formalism.

O problema da causação descendente é um ponto central na formulação do fisicalismo não-redutivo e na compreensão da emergência de propriedades. Duas interpretações possíveis da causação descendente, nas quais a contribuição do pensamento aristotélico é importante, são examinadas. Os requisitos do programa de matematização da natureza na mecanica clássica, que levaram ao abandono de três dos modos causais aristotélicos, nao parecem igualmente importantes nas ciencias especiais. Isto sugere que a contribuição de Aristóteles pode ser, de certa maneira, retomada. Uma definição (...) de propriedade emergente é apresentada, sendo a causação descendente interprerada de acordo com os modos causais formal e funcional.The problem of downward causation is a key subject in the formulation of nonreductive physicalism as well as in the understanding of property emergence. Two possible interpretations of downward causation, to which Aristotelian thought is relevant, are examined. In the mathematical understanding of nature in classical mechanics, the principle of causality should meet requirements that entailed the rejection of three among the four Aristotelian causal modes. Those requirements do not seem equally important in the special sciences and one may suggest, then, that Aristotle’s contribution may be taken into account. A definition of an emergent property is proposed, in which downward causation is interpreted according to the formal and functional causal modes. (shrink)

The paper discusses Edmund Husserl’s threefold pictorial experience and the threefold aesthetic experience of pictures accordingly. It aims to show what the advantages are of the threefold account of pictorial experience, in contrast to the twofold account, to explain aesthetic experience. More specifically, it explains the role of the image object’s fold in aesthetic experience. The paper is divided into three parts. The first part explains and defends Husserl’s theory of threefold pictorial experience, which is an experience of seeing-in or, (...) in Husserl’s terminology, image consciousness. A comparison will be made with other seeing-in theories, especially with Bence Nanay’s threefold account of picture perception. The second part explains the relationship between the second and the third fold, namely the resemblance and difference between the image object and the image subject. The focus is on explaining the terms of analogizing and non-analogizing moments of the image object. The third part of the paper discusses Husserl’s theory of the threefold aesthetic experience of pictures. It will be shown that aesthetic attitude is turned toward the how of representation, instead of the what of representation. Also, a comparison between Husserl and Richard Wollheim’s theories of representation is made. More specifically, the paper will show that Richard Wollheim’s different hows of representation are similar to Husserl’s view on analogizing and non-analogizing moments of the image object. (shrink)

Contrary to the widespread belief, the problem of the emergence of classical mechanics from quantum mechanics is still open. In spite of many results on the ¯h → 0 asymptotics, it is not yet clear how to explain within standard quantum mechanics the classical motion of macroscopic bodies. In this paper we shall analyze special cases of classical behavior in the framework of a precise formulation of quantum mechanics, Bohmian mechanics, which contains in its own structure the possibility of describing (...) real objects in an observer-independent way. (shrink)

Contrary to the widespread belief, the problem of the emergence of classical mechanics from quantum mechanics is still open. In spite of many results on the ¯h → 0 asymptotics, it is not yet clear how to explain within standard quantum mechanics the classical motion of macroscopic bodies. In this paper we shall analyze special cases of classical behavior in the framework of a precise formulation of quantum mechanics, Bohmian mechanics, which contains in its own structure the possibility of describing (...) real objects in an observer-independent way. (shrink)

O problema da causação descendente é um ponto central na formulação do fisicalismo não-redutivo e na compreensão da emergência de propriedades. Duas interpretações possíveis da causação descendente, nas quais a contribuição do pensamento aristotélico é importante, são examinadas. Os requisitos do programa de matematização da natureza na mecanica clássica, que levaram ao abandono de três dos modos causais aristotélicos, nao parecem igualmente importantes nas ciencias especiais. Isto sugere que a contribuição de Aristóteles pode ser, de certa maneira, retomada. Uma definição (...) de propriedade emergente é apresentada, sendo a causação descendente interprerada de acordo com os modos causais formal e funcional.The problem of downward causation is a key subject in the formulation of nonreductive physicalism as well as in the understanding of property emergence. Two possible interpretations of downward causation, to which Aristotelian thought is relevant, are examined. In the mathematical understanding of nature in classical mechanics, the principle of causality should meet requirements that entailed the rejection of three among the four Aristotelian causal modes. Those requirements do not seem equally important in the special sciences and one may suggest, then, that Aristotle’s contribution may be taken into account. A definition of an emergent property is proposed, in which downward causation is interpreted according to the formal and functional causal modes. (shrink)

According to John Brough, we can use Husserl’s theory of image consciousness to explain the conflict between the actor and the character in cinematographic depictions in terms of an empirical conflict between the “image object” and the “physical thing.” I disagree with him and I shall show that the conflict between the actor and the character can only be explained in terms of a non-empirical conflict between two “image subjects.” The empirical conflict that concerns the subject is between how the (...) actor or the character appears in image consciousness and how it appears or would appear in perception, that is, between the “image subject” and the “subject as it appears in perception.”. (shrink)

Abstract:This paper presents a model of the continuous structure of Cognition based on several theses proposed by Charles S. Peirce in his youth and in his mature period. In this model, cognitions are discontinuous parts on a continuum and a cognitive process becomes “individually-synthetic,” as a hypostatic abstraction from discontinuous transformations of informational fluxes in the continuous course of experience. That is, they are salient regions or neighborhoods on a continuum rather than points, and the relations of succession and precession (...) among them are inferential, fluid, time sensitive, and goal-directed. First, this paper will outline the theses found in the young Peirce’s work, which inspire a conception of continuous Cognition. Two questions will be raised regarding such a conception: (1) at what point does a particular act of cognition conclude? and (2) how should we characterize individual cognitions? To address these questions, the paper will later introduce the concept of continuity that Peirce developed in his mature years. The synthetic character of the continuum leads to the formulation of the concepts of neighborhood and synthetic individuality. These notions support the conception of a continuous model of Cognition in which the relations of succession and precession between individual finite cognitions are explained. The paper ends with a brief reflection regarding the possibility of developing this model of continuous Cognition as a theory of extended cognition. (shrink)

Individuals with Autism spectrum disorders (ASD) have difficulties in the recollection of past experiences (Episodic Memory). Accumulating evidence suggests that they might have also difficulties in the ability to imagine potential future scenarios (Episodic Future Thinking, EFT) and in narrative generation skills. This investigation aimed to determine 1) whether impairments of EFT can be identified in a large cohort of children with high functioning ASD using a task with minimal narrative demands; and 2) if such impairments are related to the (...) ability to generate a narrative's scenario. 77 children with high-functioning ASD and 77 children with typical development were recruited for the study. The two groups were balanced for age, level of formal education, and IQ. EFT was assessed by administering a task with minimal narrative demands, whereas narrative generation skills were assessed with three tasks requiring children to generate past, middle or future episodes in a narrative discourse. With respect to control participants, a subgroup of children with ASD had impaired EFT skills and also showed significant impairments in the ability to generate adequate narratives. On the contrary, participants with spared EFT had normal performance on the narrative generation task. Interestingly, EFT skills predicted narrative generation abilities in both groups. The results of this study support the hypothesis that EFT may be impaired in some but not all children with ASD and of a relation between difficulties with EFT and impairments in the process of narrative generation. The assessment of EFT should employ tasks that do not require narrative production, as children with impaired EFT may also have reduced narrative skills. (shrink)

Edmund Husserl has famously declared that “Without an image, there is no fine art.” The aim of the article is to find out whether conceptual art can be experienced as image as well. It will be shown that Joseph Kosuth’s conceptual artwork One and Three Chairs (1965) perfectly illustrates Husserl’s theory of image consciousness and the concept of “image.” Thus, Husserl’s theory makes a valuable contribution in understanding conceptual (and contemporary) art.

Preface to the special issue 'Depiction: Contemporary Studies on Pictorial Representation'.

The aim of the article is to argue against the claim that Edmund Husserl does not adequately distinguish physical imagination from phantasy in his early texts. Thus, the article examines Husserl’s early theory of imagination according to which phantasy and image consciousness (understood as physical imagination) have a similar structure of pictorialization but differ with respect to apprehension contents and the number of apprehended objects: phantasy involves phantasms and two apprehended objects but physical imagination involves sensations and can have three (...) apprehended objects. (shrink)

Abstract pictures are distinguished from depictive pictures in that no visibly recognizable objects can be seen in them. Abstract pictures are thus non-depictive and non-figurative. The question still remains, however, if abstract pictures can be representations. The aim of this chapter is to defend the view that abstract pictures can be representational and therefore have content or subject matter. It will be shown that there are at least three ways to understand what the subject matter of abstract pictures can be: (...) it is either abstracted from figurative content, it is spiritual or the subject matter is produced. (shrink)

In this paper, we generalize the crisp topological spaces to the notion of neutrosophic crisp topological space, and we construct the basic concepts of the neutrosophic crisp topology.

In this paper (in Italian) we discuss how quantum theories can be thought of as having the same structure. If so, even the theories that appear to be about the wave function are incomplete, even if in a way which is very different from the one Einstein proposed.

La meccanica quantistica è una delle più grandi conquiste intellettuali del xx secolo. Le sue leggiregolano il mondo atomico e subatomico e si riverberano su una miriade di fenomeni del mondomacroscopico, dalla formazione dei cristalli alla superconduttività, dalle proprietà dei fluidi a bassatemperatura agli spettri di emissione di una candela che brucia o di una supernova che esplode, daimeccanismi di combustione della fornace solare ai principi di base delle nanotecnologie. Non c’èquasi nulla nel mondo che ci circonda su cui non (...) soffi l’alito delle leggi quantistiche. Tuttavia, per come è usualmente presentata nei libri di testo, la meccanica quantistica è sostanzialmenteun’insieme di regole per calcolare le distribuzioni di probabilità dei risultati di qualunqueesperimento (nel dominio di validità della meccanica quantistica). In quanto tale, non ci forniscedirettamente una descrizione della realtà. Una descrizione della realtà, cioè un’ ontologia , dovrebbedirci che cosa c’è nel mondo e come si comporta, quali sono i processi che si realizzano a livellomicroscopico e, di conseguenza, fornirci una spiegazione del formalismo quantistico. (shrink)

The controversy over the notion of emergence has recently re-emerged But a rigorous debate concerning how it might be explained or defined often lacking Emergence is discussed heir under two strict conditions emergents can be predictable from the knowledge about a system's parts, emergents can be regarded as dependent on, and determined by, the system's micro-structure O’Connor’s definition of an emergent property is taken as a starting-point for a new definition, incorporating Emmeche and colleagues’ analysis of downward causation and Baas' (...) treatment of emergence It is not necessary to assume that das definition might provide die solution to the problem of emergence Rather, theoretical pluralism regarding different pragmatically-workable notions of emergence is welcome The reality of emergents is discussed here from the standpoint of Dennet’s mild realism. (shrink)

This special issue of the journal Cybernetics & Human Knowing brings together contributions to the debate on emergence and related topics from a variety of perspectives, especially the sciences of complexity and cybernetics.The book is organised around four "position papers", each of which is discussed by other contributors to whom the original author then responds.

In this paper, we introduce and study the concept of" neutrosophic closed set" and" neutrosophic continuous function". Possible application to GIS topology rules are touched upon.

In this paper we propose a narrative account for the origin of language. Such a proposal is based on two assumptions. The first is conceptual and concerns the idea that the distinctive feature of human language (what sets it apart from other forms of animal communication) has to be traced to its inherently narrative character. The second assumption is methodological and connected to the idea that the study of language origin is closely related to the analysis of the cognitive systems (...) at the base of narrative. Research on narrative abilities of subjects with Autism Spectrum Disorder has shown that storytelling requires the capability to link events causally connected to one another, and especially events which are remote from one another on the temporal axis of a story. Based on this research, we hypothesize that an important cognitive device involved in narrative is Mental Time Travel (MTT), that is, the system that allows humans to project themselves into the past and future. We show that such a system is present (to a greater or lesser extent) even in non-human animals. By virtue of this, we argue that MTT is independent of language and that it may be considered a cognitive precursor for the origin of language. Specifically, we propose that MTT allowed our ancestors to develop a form of pantomimic communication that might be considered as the foundation of the narrative origin of language. (shrink)