The first cortically based associative circuits integrated olfactory, motivational, and motor information. Many of the neural dynamics present in these evolutionarily ancient, olfactory-motor circuits, such as the broadband frequency, phase, and amplitude modulations seen during recognition of a rewarded olfactory stimulus, are also found in isocortical circuits. These results suggest that mechanisms permitting olfactory associative processing formed the basis for evolutionarily more recent large-scale couplings involving isocortical areas.

We present an experimental test of the validity of the Pauli Exclusion Principle for electrons based on the concept put forward a few years ago by Ramberg and Snow. In this experiment we perform a very accurate search of X-rays from the Pauli-forbidden atomic transitions of electrons in the already filled 1S shells of copper atoms. Although the experiment has a simple structure, it poses deep conceptual and interpretational problems. Here we describe the experimental method and recent experimental results, which (...) we interpret as an upper limit for the probability to violate the Pauli Exclusion Principle. We present also future plans to upgrade the experimental apparatus using Silicon Drift Detectors. (shrink)

In this paper we describe an experimental test of the validity of the Pauli Exclusion Principle (for electrons) which is based on a straightforward idea put forward a few years ago by Ramberg and Snow (Phys. Lett. B 238:438, 1990). We perform a very accurate search of X-rays from the Pauli-forbidden atomic transitions of electrons in the already filled 1S shells of copper atoms. Although the experiment has a very simple structure, it poses deep conceptual and interpretational problems. Here we (...) describe the experimental method and recent experimental results, which we interpret in the framework of quon theory. We also present future plans to upgrade the experimental apparatus using Silicon Drift Detectors. (shrink)

Research on mental health of non-professional caregivers has focused on caregivers of people with specific diseases, especially dementia. Less is known about caregivers of people with other diseases. The aims of this study were (a) to determine the caregivers’ emotional state in a random sample of caregivers of people in situations of dependency, (b) to analyze the association between each disease of the care-recipient (a variety of 23 diseases included in the International Classification of Diseases) and the emotional state of (...) the caregiver, and (c) based on the theoretical model, to analyze the relationship of the different study variables in the appearance of the emotional distress of the caregiver. A sample of 491 non-professional caregivers was selected randomly (89.0% women, average age 55.3 years). Trained psychologists collected sociodemographic and care-related characteristics and evaluated the global emotional distress, somatic symptoms, anxiety-insomnia, social dysfunction, depression, probable mental disorder case, self-esteem and social support. It was found that (a) the caregivers showed moderate emotional distress, and 33.8% presented a probable mental disorder. (b) Caring for a care-recipient with cat's cry syndrome or epilepsy was related to suffering from social dysfunction, and caring for a care-recipient with autism was related to having a probable mental health case. (c) Social support mediated the relationship between social class, daily hours of care, monthly family income, self-esteem and global emotional distress. There is an important impact on the emotional state of the caregivers. This impact was similar in caregivers of care-recipients with different diseases, except in caregivers caring for a care-recipient with cat's cry syndrome or epilepsy (related to social dysfunction), and in caregivers caring for a care-recipient with autism (related to having a probable mental health case). (shrink)

We present the idea of searching for X-rays as a signature of the mechanism inducing the spontaneous collapse of the wave function. Such a signal is predicted by the continuous spontaneous localization theories, which are solving the “measurement problem” by modifying the Schrödinger equation. We will show some encouraging preliminary results and discuss future plans and strategy.

Revisión de Actividad Que digan dónde están" Una historia de los derechos humanos en Argentina por L. Alonso.

Juan B. Justo en la historia y el pensamiento argentinos, por A. Solari.--Teoría y práctica de la historia, por M. H. Alberti.--La base biológica de la historia, por F. Escardó.--La técnica, por A. Justo.--La economía, por R. Bogliolo.--La guerra, por A. G. Rodríguez.--La política, por A. Ghioldi.--La lucha de ciases, por R. Mondolfo.--El salariado, por M. Palacín.--Las formas típicas del privilegio, por J. L. Pena.--El gremialismo proletario, por E. Frugoni.--La cooperación libre, por N. Repetto.--La democracia obrera, por L. Pan.--La religión, (...) la cilencia, el arte, por R. Rivière. (shrink)

In this book, Christiane L. Joost-Gaugier offers the first systematic study of Pythagoras and his influence on mathematics, astronomy, philosophy, religion, medicine, music, the occult, and social life-as well as on architecture and art-in the late medieval and early modern eras. Following the threads of admiration for this ancient Greek sage from the fourteenth century to Kepler and Galileo in the seventeenth, this book demonstrates that Pythagoras's influence in intellectual circles-Christian, Jewish, and Arab-was more widespread than has previously been acknowledged. (...) Joost-Gaugier shows that during this period Pythagoras was respected by many intellectuals in different areas of Europe. She also shows how this admiration was reflected in ideas that were applied to the visual arts by a number of well known architects and artists who sought, through the use of a visual language inspired by the memory of Pythagoras, to obtain perfect harmony in their creations. Among these were Alberti, Bramante, Leonardo da Vinci, Michelangelo, and Raphael. Thus did, she suggests, some of the greatest art works in the Western world owe their modernity to an inspirational force that, paradoxically, had been conceived in the distant past. (shrink)

Giordano Bruno (1548-1600), who died at the stake, is one of the best-known symbols of anti-establishment thought. The theme of this volume, which is offered as a collection of essays to honor the distinguished Bruno scholar Hilary Gatti, reflects her constant concern for the principles of cultural freedom and independent thinking. Several essays deal with Bruno himself, including an analysis of the Eroici furori, a study of his reception in relation to the group known as the Novatores, and discussions of (...) several important aspects of his stay in England. The authors and texts discussed here are linked by a relentless interest in the question of authority and originality, and they range from literary figures such as Alberti (1404-72), Vasari (1511-74) and the proponents of quantitative verse in sixteenth-century England to controversial philosophers who, like Bruno, were condemned by the Church, such as Tommaso Campanella (1568-1639) and Giulio Cesare Vanini (1585-1619). Taken together, these chapters show how much that was new and revolutionary in early modern culture came from its confrontation with the past. Martin McLaughlin is Agnelli-Serena Professor of Italian at Oxford. Elisabetta Tarantino is a Teaching Fellow in the Department of Italian at the University of Warwick. (shrink)

Frank Mitjans is an architect who has worked in London since 1976. He was introduced to the significance of the figure of St. Thomas More by Andrés Vázquez de Prada, author of the biography, Sir Tomás Moro, Lord Canciller de Inglaterra. In 1977 Vázquez de Prada invited Mitjans to visit with him the Thomas More Exhibition at the National Portrait Gallery, which stimulated his interest in representations of More, his family and his friends. Since August 2002 he has (...) given many presentations and talks on the topography of More’s London to groups of students and other interested people in Britain, Ireland, and Sweden. Frank Mitjans, architecte qui travaille à Londres depuis 1976, fut initié au personnage de Saint Thomas More par Andrés Vázquez de Prada, auteur de la biographie Sir Tomás Moro, Lord Canciller de Inglaterra. En 1977 Vázquez de Prada l’invita à l’accompagner dans sa visite de l’exposition Thomas More à la National Portrait Gallery, évènement qui aiguisa son intérêt pour les représentations de More, de sa famille et de ses amis. Depuis août 2002 il a régulièrement fait des présentations et des exposés à des groupes d’étudiants et d’autres en Grande-Bretagne, Irlande et Suède au sujet de la topographie du Londres de Thomas More. The recent exhibitions of the works of Holbein in London and Basel, and scholarly publications such as Holbein and England, have rekindled interest in the Portrait of Thomas More and his Family, and in the late sixteenth-century versions of Holbein’s presumed lost original. The present paper analyses the differences between the sixteenth-century versions and Holbein’s 1527 composition sketch, and concludes that the sketch is a more reliable witness to Holbein’s lost painting than the later versions, as well as the only authentic witness to More’s intentions; though anything we learn from the drawing must be checked against what we know from More’s letters and writings and other biographical data. From the later versions, however, and in particular from the references to Seneca on them, we can learn about those who commissioned them and England’s peculiar historical circumstances. (shrink)

Experiential imagination consists in an imaginative projection that aims at simulating the experiences one would undergo in different circumstances. It has been traditionally thought to play a role in how we build our lives, engage with other agents, and appreciate art. Although some philosophers have recently expressed doubts over the capacity of experiential imagination to offer insight into the perspective of someone other than our present-selves, experiential imagination remains a much sought-after tool. This paper substantiates pessimism about the epistemological value (...) of these uses of experiential imagination by developing an embodied approach. Our thesis is that experiential imagination is _robustly embodied_ because the _sociohistorically situated_ body makes an irreducible contribution to the imaginative project, and that, as such, it is constrained by who we are as _concrete_ agents. We argue that experiential imagination is an embodied, virtual exploration of imagined scenarios that depends on our situated history of sensorimotor and affective interactions. We conclude that experiential imagination is much more limited than commonly acknowledged, as it can hardly be divorced from who we are and where we have been. (shrink)

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

Advocates of the ethical criticism of art claim that works' ethical defects or merits have an impact on their aesthetic value. Against ethical critics, autonomists claim that moral criteria should not be part of the considerations when evaluating works of art as art. Autonomism refers to the view that an artwork's aesthetic value is independent from its ethical value. The purpose of this paper is to examine how autonomism has been defended in the contemporary discussion in analytic aesthetics. I present (...) three versions of autonomism: Richard Posner's radical autonomism, James C. Anderson and Jeffrey T. Dean, and James Harold's moderate autonomism, and Francisca Pérez Carreño's robust autonomism. I argue that robust autonomism offers a stronger argument against the ethical critic. However, I point to some difficulties for Pérez Carreño's account and conclude by suggesting how further work in autonomism might go around them. (shrink)