- Tutti i movimenti spirituali che sembrano oggi riscuotere successo nella nostra societÀ prevedono un coinvolgimento della corporeitÀ, propongono una risacralizzazione del corpo. Fra questi nuovi movimenti sono emersi ormai da anni con una certa forza quelli di derivazione orientale, che propongono la pratica della meditazione quale via salvifica e per il corpo e per la mente. La meditazione, infatti, lungi dall'essere un'attivitÀ eminentemente riflessiva, si presenta sempre come una pratica esperienziale totalizzante, che implica un coinvolgimento pieno non solo della (...) mente, ma anche dell'emotivitÀ e della corporeitÀ. (shrink)

This book addresses selected central questions in phenomenological psychology, a discipline that investigates the experience of self that emerges over the course of an individual’s life, while also outlining a new method, the formal indication, as a means of accessing personal experience while remaining faithful to its uniqueness. In phenomenological psychology, the psyche no longer refers to an isolated self that remains unchanged by life’s changing situations, but is rather a phenomenon which manifests itself and constantly takes form over the (...) course of a person’s unique existence. Thus, the formal indication allows us to study the way in which ipseity relates to the world in different situations, in a way that holds different meanings for different people. Based on this new approach, phenomenological psychotherapy marks a transition from a mode of grasping the truth about oneself through reflection, to a mode of accessing the disclosure of self through a work of self-transformation that requires the person to actually change her position on herself. By putting forward this method, the authors shed new light on the dynamic interplay between a person’s historicity and uniqueness on the one hand, and the related physiopathological mechanisms on the other, providing evidence from the fields of genetics, cardiology, the neurosciences and psychiatry. The book will appeal to a broad readership, from psychiatrists, psychologist and psychotherapists, to researchers in these fields. (shrink)

This paper proves that it is possible to build a Lagrangian for quantum electrodynamics which makes it explicit that the photon mass is eventually set to zero in the physical part on observational ground. Gauge independence is achieved upon considering the joint effect of gauge-averaging term and ghost fields. It remains possible to obtain a counterterm Lagrangian where the only non-gauge-invariant term is proportional to the squared divergence of the potential, while the photon propagator in momentum space falls off like (...) k −2 at large k which indeed agrees with perturbative renormalizability. The resulting radiative corrections to the Coulomb potential in QED are also shown to be gauge-independent. The experience acquired with quantum electrodynamics is used to investigate properties and problems of the extension of such ideas to non-Abelian gauge theories. (shrink)

In this paper the author reconstructs the Klagesian positions that, according to him, have possibly inspired Walter Benjamin in his reflection on “aura”. Ludwig Klages’ thought, in fact, and especially the notion of “Nimbus-Aura”, had an interesting resonance in the work of Walter Benjamin. The author shows that Benjamin has probably shared with Klages the idea that human history is indeed rooted in what we might call “myth”, differently from Theodor Adorno, who intends to criticize Klages’ influence in Benjamin’s notion (...) of “aura”, dialectilizing the mythical “origin” and characterizing it as fiction. In the author’s view, moreover, if in Klages this root receives nourishment from the universal symbolism of matter, that Klages intends as originally “auratic”, in Benjamin this root becomes the starting point through which, by means of artistic reproducibility, the human pattern moves away from the myth. (shrink)

In this paper the author reconstructs the Klagesian positions that, according to him, have possibly inspired Walter Benjamin in his reflection on “aura”. Ludwig Klages’ thought, in fact, and especially the notion of “Nimbus-Aura”, had an interesting resonance in the work of Walter Benjamin. The author shows that Benjamin has probably shared with Klages the idea that human history is indeed rooted in what we might call “myth”, differently from Theodor Adorno, who intends to criticize Klages’ influence in Benjamin’s notion (...) of “aura”, dialectilizing the mythical “origin” and characterizing it as fiction. In the author’s view, moreover, if in Klages this root receives nourishment from the universal symbolism of matter, that Klages intends as originally “auratic”, in Benjamin this root becomes the starting point through which, by means of artistic reproducibility, the human pattern moves away from the myth. (shrink)

Cinema against Spectacle -- Introduction -- Cinema against Spectacle -- I. Opening the Window? -- II. Inventing the Cinema? -- III. Filming the Disaster? -- IV. Cutting the Figure? -- V. Changing the Spectator? -- Technique and Ideology: Camera, Perspective, Depth of Field -- Introduction -- I. On a Dual Origin -- The ideological place of the "base apparatus" -- Birth = deferral: The invention of the cinema -- II. Depth of Field: The Double Scene -- Bazin's "surplus realism" -- (...) The work of "transparency" -- For a materialist history of the cinema -- "For the first time ..." -- III."Primitive" Depth of Field -- IV. Effacement of Depth/Advent of Speech -- V. Which Speech? (shrink)

Deligny’s thinking is a thought that tries to open, to open the words and make them come back to the gestures from which they perhaps emerged, and to which they no doubt refer. In order to say unheard-of things about cinema, Deligny had to forge a new language whose manifesto-term is camera-ing. What’s the use of cinema ? To see again in order to see, to redouble the system of repetition characteristic of the autistic children. What is Deligny’s camera-ing ? (...) Bringing cinema to what’s outside it. (shrink)

This paper aims to offer an innovative reading of Mary Shelley’s Frankenstein by reflecting on the cultural horizon that influenced the composition of the novel, namely the Naturphilosophie of the Romantic period, characterized by the interpenetration of matter and spirit, visible and invisible. Its major development occurred in German aesthetics of the 18th century, where the union of sensibility and imagination was harmonically realized through a special fusion of philosophy and literature. Thanks to this encounter, philosophy regained its link with (...) the universal and literature became capable of “telling” the invisible without falling into arbitrariness. From this theoretical perspective, the monster created by Shelley is not a creative failure, but something enormous that terrifies because it transcends both our sensitive faculty and our imaginative capacity. Monster is described here as the place of interaction between visible and invisible, which only the artist – by placing himself in the middle of this relationship – is able to narrate. (shrink)

The new phenomenological and aesthetic paradigm of atmospheres, conceived as feelings spread out in the external space and not as private moods, is tested here from different points of view and different disciplines in the context of a full valorization of the so-called "affective turn" in Humanities.

Since Kraeplin and Kretschmer, the clarification of the limits between ordinary sadness and clinical depression has been a major concern. Much of the controversy has focused on whether and on which bases can be fixed a boundary in the continuum from the experience of sadness to major depressive episode. The new emphasis on the role of clinical judgment introduced by DSM-5 can be regarded as a way to address these issues, though leaving several questions open. After examining the implications of (...) the main topics raised by this still ongoing discussion, we will argue that in a clinical reality both mobility and intensity of emotional states may account for the discontinuity between ordinary sadness and clinical depression. (shrink)

Understanding the mechanisms and the time and spatial evolution of penumbra following an ischemic stroke is crucially important for developing therapeutics aimed at preventing this area from evolving towards infarction. To help in integrating the available data, we decided to build a formal model. We first collected and categorised the major available evidence from animal models and human observations and summarized this knowledge in a flow-chart with the potential key components of an evolving stroke. Components were grouped in ten sub-models (...) that could be modelled and tested independently: the sub-models of tissue reactions, ionic movements, oedema development, glutamate excitotoxicity, spreading depression, NO synthesis, inflammation, necrosis, apoptosis, and reperfusion. Then, we figured out markers, identified mediators and chose the level of complexity to model these sub-models. We first applied this integrative approach to build a model based on cytotoxic oedema development following a stroke. Although this model includes only three sub-models and would need to integrate more mechanisms in each of these sub-models, the characteristics and the time and spatial evolution of penumbra obtained by simulation are qualitatively and, to some extent, quantitatively consistent with those observed using medical imaging after a permanent occlusion or after an occlusion followed by a reperfusion. (shrink)

Pensar en el cine como ocasión y potencia del pensamiento significa en efecto, en primer lugar, sustraer la imagen contemporánea del dominio de los estudios especializados y, en segundo lugar, pensar a partir de aquello que el cine crea (como recordaba Deleuze): esto es, las imágenes mismas. El cine redescubre su potencia a través de sus propias formas. Entrevistas de la revista italiana Fata Morgana con: Jacques Rancière, Roberto Esposito, Jean-luc Nancy, Slavoj Zizek, Julia Kristeva, Werner Herzog, Raúl Ruiz, Yervant (...) Gianikian, Ángela Ricci Lucchi, Edgar Reitz, Paul Schraoer, Georges Didi-Huberman, Jean-Louis Comolli, Nuccio Ordine. (shrink)