There is now compelling evidence that motor imagery (MI) promotes motor learning. While MI has been shown to influence the early stages of the learning process, recent data revealed that sleep also contributes to the consolidation of the memory trace. How such “online” and “offline” processes take place and how they interact to impact the neural underpinnings of movements has received little attention. The aim of the present review is twofold: i) providing an overview of recent applied and fundamental studies (...) investigating the effects of MI practice on motor learning, and ii) detangling applied and fundamental findings in support of a sleep contribution to motor consolidation after MI practice. We conclude with an integrative approach of online and offline learning resulting from intense MI practice in healthy participants, and underline research avenues in the motor learning/clinical domains. (shrink)

En este artículo discutiré algunos problemas lógicos de la omnipotencia que van más allá de las clásicas paradojas ligadas a esta noción. Presentaré una versión refinada de la paradoja de Fitch sobre la omnipotencia que tiene en cuenta la distinción entre acciones básicas y derivadas, así como la distinción entre la capacidad de hacer algo y la mera posibilidad metafísica de hacerlo. También explico cómo esta paradoja puede reformularse para obtener una versión afín a la paradoja del mentiroso que afecta (...) a la consistencia de ciertas nociones de omnipotencia. Por último, evalúo algunas posibles respuestas disponibles para el teísta y un intento de usar la paradoja de Fitch como argumento a favor de la existencia de Dios. (shrink)

La pensée du corps. Un parcours esthétique chez le dernier Merleau-PontyLe but de cette contribution est de chercher à reconstruire un parcours théorique, entre plusieurs autres possibles, en mesure de montrer comment l’art, en particulier la peinture, incarne chez le dernier Merleau-Ponty la possibilité d’un autre type de pensée. Il s’agit de la tentative de suivre une idée qui semble faire son chemin au sein de la réflexion que l’auteur consacre à la Nature et puis à l’Etre brut et sauvage, (...) ou bien aussi dans celle d’une pensée enracinée dans la corporéité, qui devient une chose qui pense et qui fait penser. Une hypothèse de sens qui ouvre à une investigation de la chair humaine, et qui aboutit au résultat visible de cette pensée qui est corps et qui trouve dans la vision de l’art moderne ses signes les plus paradigmatiques.Il s’agit d’un itinéraire exégétique qui propose, en substance, un double plan: d’une part, une lecture de l’essence du corps, dans la facticité primordiale de la Nature, dans lequel se loge une sorte d’ontologie de la cavité et, de l’autre, le résultat philosophique possible d’une corporéité qui pense et qui, à travers l’art de la peinture, fait voir une pensée non plus fondée sur la représentation, en dernière instance, une pensée post-métaphysique. Et cela n’est pas sans conséquences pour le rapport de l’homme avec le monde et avec la philosophie.The Thought of Body. An Aesthetic Path in the Final Merleau-PontyThe purpose of this contribution is to try to reconstruct a theoretical path, between several other possibilities, capable of showing how art, in particular painting, incarnates in the final Merleau-Ponty the possibility of another type of thinking. What is at issue is an attempt to follow an idea which seems to make its way within the reflection that Merleau-Ponty dedicates first to Nature, and then to brute and wild Being, or as well in that of a thought rooted in corporeity, which becomes a thing which thinks and which requires thinking. We are following a hypothesis concerning the sense which opens to an investigation of human flesh, and which leads to the visible result of this thought which is body and which finds its most paradigmatic signs in the vision of modern art.What is at issue is an exegetical itinerary which proposes, in substance, a double plan: on the one hand, a reading of the essence of body, in the primordial facticity of Nature, in which a sort of ontology on the cavity lodges itself and, on the other hand, the possible philosophical result of a corporeity which thinks and which, through the art of painting, makes see a thought no longer founded on representation, and is, at the end of the day, a post-metaphysical thought. And that is not without consequences for the relation of the human with the world and with philosophy. (shrink)

La pensée du corps. Un parcours esthétique chez le dernier Merleau-PontyLe but de cette contribution est de chercher à reconstruire un parcours théorique, entre plusieurs autres possibles, en mesure de montrer comment l’art, en particulier la peinture, incarne chez le dernier Merleau-Ponty la possibilité d’un autre type de pensée. Il s’agit de la tentative de suivre une idée qui semble faire son chemin au sein de la réflexion que l’auteur consacre à la Nature et puis à l’Etre brut et sauvage, (...) ou bien aussi dans celle d’une pensée enracinée dans la corporéité, qui devient une chose qui pense et qui fait penser. Une hypothèse de sens qui ouvre à une investigation de la chair humaine, et qui aboutit au résultat visible de cette pensée qui est corps et qui trouve dans la vision de l’art moderne ses signes les plus paradigmatiques.Il s’agit d’un itinéraire exégétique qui propose, en substance, un double plan: d’une part, une lecture de l’essence du corps, dans la facticité primordiale de la Nature, dans lequel se loge une sorte d’ontologie de la cavité et, de l’autre, le résultat philosophique possible d’une corporéité qui pense et qui, à travers l’art de la peinture, fait voir une pensée non plus fondée sur la représentation, en dernière instance, une pensée post-métaphysique. Et cela n’est pas sans conséquences pour le rapport de l’homme avec le monde et avec la philosophie.The Thought of Body. An Aesthetic Path in the Final Merleau-PontyThe purpose of this contribution is to try to reconstruct a theoretical path, between several other possibilities, capable of showing how art, in particular painting, incarnates in the final Merleau-Ponty the possibility of another type of thinking. What is at issue is an attempt to follow an idea which seems to make its way within the reflection that Merleau-Ponty dedicates first to Nature, and then to brute and wild Being, or as well in that of a thought rooted in corporeity, which becomes a thing which thinks and which requires thinking. We are following a hypothesis concerning the sense which opens to an investigation of human flesh, and which leads to the visible result of this thought which is body and which finds its most paradigmatic signs in the vision of modern art.What is at issue is an exegetical itinerary which proposes, in substance, a double plan: on the one hand, a reading of the essence of body, in the primordial facticity of Nature, in which a sort of ontology on the cavity lodges itself and, on the other hand, the possible philosophical result of a corporeity which thinks and which, through the art of painting, makes see a thought no longer founded on representation, and is, at the end of the day, a post-metaphysical thought. And that is not without consequences for the relation of the human with the world and with philosophy. (shrink)

Motor Imagery reproduces cognitive operations associated with the actual motor preparation and execution. Postural recordings during MI reflect somatic motor commands targeting peripheral effectors involved in balance control. However, how these relate to the actual motor expertise and may vary along with the MI modality remains debated. In the present experiment, two groups of expert and non-expert gymnasts underwent stabilometric assessments while performing physically and mentally a balance skill. We implemented psychometric measures of MI ability, while stabilometric variables were calculated (...) from the center of pressure oscillations. Psychometric evaluations revealed greater MI ability in experts, specifically for the visual modality. Experts exhibited reduced surface COP oscillations in the antero-posterior axis compared to non-experts during the balance skill. Experts further exhibited reduced length of COP displacement in the antero-posterior axis and as a function of the displacement area during visual and kinesthetic MI compared to the control condition. Predictive relationships were found between the stabilometric correlates of visual MI and physical practice of the balance skill, as well as between the stabilometric correlates of kinesthetic MI and the training experience in experts. Present results provide original stabilometric insights into the relationships between MI and expertise level. While data support the incomplete inhibition of postural commands during MI, whether postural responses during MI of various modalities mirror the level of motor expertise remains unclear. (shrink)

Contemporary art, which explodes from the borders and identifiable genres, the dance requires to be discussed in a perspective that exceeds the narrow of the sector. It is a microcosm of the world, a privileged space for observing the displacements and tensions of the contemporary world whose stake is a new posture that redesigns the body map in the society of capital and in the era of relations mediated by the mechanisms of the network. The result is a unique field (...) of analysis to explore with the work of Michele Di Stefano, one of the most interesting figures in the advanced front of contemporary choreography. Space, time and aesthetic categories mark this path of reflection. (shrink)

This article presents a follow-up examination of 10 iterations of a blended course on educational psychology and e-learning carried out at the University of Bari. All iterations of the course considered in this study were designed using the Constructive and Collaborative Participation (CCP) model. Our main research questions are: What are the students’ long lasting memories of this course? How do the students use the skills and the competences acquired through the course across an extended period of time? In line (...) with these research questions, the aims of this investigation can be summarized as follows: i) to understand the students’ perceptions and long lasting memories of the course and (ii) to investigate the transfer of skills and knowledge across an extended period of time, based on a self-reported survey. The analysis was carried out by administering the survey to all 196 students who took part in the course in the 2005-2015 decade. 96 participants responded to the survey. The survey is designed to collect data in two areas. First, the memories related to the course and second, the way skills and content knowledge acquired during the course have been transferred to and used in other contexts after the course ended. The data were analyzed using a mixed methods approach, which revealed trends in the responses across the decade. In general, participants remembered the teaching methodology and often recalled specific activities such as Role Taking and the creation of products through group-work. These activities and approaches seemed to provide significant learning opportunities for the students. Several students also recalled key concepts and content knowledge acquired during the course. In relation to transfer of skills, participants tended to reuse mostly transversal skills, such as communicative and organizational skills, especially in work contexts. Further, about half of the respondents reused the content knowledge of the course. This analysis is valuable because it allows us to understand the aspects of the model that are significant for the students in the long term, and to discover and interrogate the acquisition and transfer of skills useful for the students’ personal and professional lives beyond the academy. (shrink)

Jaswal & Akhtar in their target article convincingly argue that subjects with autism do not have diminished social motivation. However, they still recognize that autistic people behave socially in an unusual way. Why? Here we suggest that these behaviours are the results of a multisensory integration deficit. Viewed from this perspective, the assumption that autistic people's unusual behaviours indicate diminished social motivation has to be replaced by the one that they have diminished social prediction skills.

In this commentary on Bastin et al., we suggest that spatial context plays a critical role in the encoding and retrieval of events. Specifically, the translation process between the viewpoint-independent content of a memory and the viewpoint-dependent stimuli activating the retrieval plays a critical role in spatial memory recollection. This perspective also provides an explanatory model for pathological disturbances such as Alzheimer's disease.

Traditional Informed Consent is becoming increasingly inadequate, especially in the context of research biobanks. How much information is needed by patients for their consent to be truly informed? How does the quality of the information they receive match up to the quality of the information they ought to receive? How can information be conveyed fairly about future, non-predictable lines of research? To circumvent these difficulties, some scholars have proposed that current consent guidelines should be reassessed, with trust being used as (...) a guiding principle instead of information. Here, we analyse one of these proposals, based on a Participation Pact, which is already being offered to patients at the Istituto Europeo di Oncologia, a comprehensive cancer hospital in Milan, Italy. (shrink)

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown the (...) stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by “motor accessibility” to the represented scenario, which is needed to judge the aesthetic value of the observed painting. (shrink)

Moving from the paradigms of “mentalization” and “reflective function”, this article develops the concept of “mentalizing” in organizations, understood as a process of construction of shared meaning in the work contexts, and whose absence or deterioration produces suffering in organizational experience, exposing individuals to significant psychosocial risks. This model converges in outlining a framework in which the absence of a reflective competence and the lack of symbolization of the experience of work fall on the perception of one's own job, and (...) on the relationship with colleagues and management, producing unsustainability of the work experience. The availability of reflective spaces that are inscribed in the ordinary dimension of work thus appears as a solution capable of promoting organizational well-being. (shrink)

Nell’estate del 1944 alcuni membri del Sonderkommando di Auschwitz, il “comando speciale” composto da prigionieri costretti al più infame dei lavori, quello nelle camere a gas e nei crematori, riescono a strappare quattro fotografie a quella terribile realtà. In due delle quattro foto si vedono i cadaveri ammassati a bruciare, in un’altra, delle donne nude correre, spinte verso le camere a gas, mentre nell’ultima distinguiamo appena dei rami. Ma c’è molto altro in queste foto, dalle quali Did...

Se negli ultimi anni sempre di più si è posta l’emergenza per l’estetica di stabilire interazioni con altri ambiti di ricerca scientifica, è pur vero che rari sono i casi di autori capaci di sviluppare la propria indagine su terreni eterogenei. Tra questi c’è Jean Petitot che con originalità conduce il proprio lavoro incrociando le due linee sulle quali si è formato: Thom e Greimas. Proseguendo nella direzione di Morfogenesi del Senso e Fisica del Senso, Morphologie et Estbétique, che rielabo...

Il saggio approfondisce l’opera di due artisti fondamentali degli ultimi decenni, ovvero Antoni Tàpies e Bill Viola. La loro produzione artistica riesce a sfuggire alla condanna che Th. W. Adorno fa di tutti quei movimenti che rimettono in questione il concetto di arte e la nozione di opera. Questi due artisti salvano lo statuto dell’arte nella società post-industriale, vale a dire in un momento in cui le trasformazioni profonde del sistema culturale rischiano di minacciare la sopravvivenza della creazione artistica, come (...) se la razionalità estetica non potesse che abdicare davanti alla razionalità strumentale. Sono pochi i pittori che come Antoni Tàpies riescono a infondere alla materia inanimata un’irradiazione e una capacità di evocazione tanto intense, mentre per Bill Viola tutte le opere d’arte rappresentano cose invisibili e la stessa tecnologia digitale non è altro che una forma più pura per avvicinarsi a quelle realtà non fisiche e non visibili che stanno sotto alle cose visibili del mondo. La scommessa di Tàpies e Viola riguarda la sopravvivenza dell’arte nell’universo mercantile di una società sempre più amministrata e sottoposta agli imperativi economici; la loro produzione pare mirata a renderci consapevoli della nostra mortalità, offrendo immagini in grado di mettere in connessione la dimensione sensibile e quella spirituale, il visibile e l’invisibile, aprendo lo spazio a una trascendenza che sembrava completamente svanita. (shrink)

The paper aims at highlighting what the author considers to be the most significant philosophical articulations of Shakespeare’s Hamlet, whose power of attraction is largely conditioned by his own obscure nature. Starting from the reading of some famous interpreters such as Bonnefoy, Cavell, Girard, Schmitt and Vygotsky, through the themes of revenge, silence, and the collapse of values, it is emphasized how, in the drama, the acceptance of death becomes a sign of the indifference of the world and therefore of (...) the insufficiency of meaning. In particular Hamlet’s statement “I don’t know it seems”, is explained by the fact that his world is completely different from that of others. This expression should be seen, then, as a kind of preliminary description of his general way of perceiving things. Starting from the famous scene of “theatre in theatre”, and in a constant confrontation with Adorno’s aesthetics, the article aims at pointing out the different ideas of theatre that face each other in the drama. The idea of theatre supported by Hamlet, however, based on the size of the logos, is not at all the one adopted by Shakespeare, since his style is based on the immoderation, the excess and the irruption of the pathos. Hamlet is not even the place for that extreme act of faith that emerges at the end of King Lear: here hopes are shattered over a world totally abandoned to nonsense. For this reason, the only possibility of redemption is offered by “being ready” rather than by “being mature” as professed by Edgar. (shrink)

The paper proposes a new understanding of the notion of “aura” as it emerges, including similarities and differences, in the aesthetic thought of Walter Benjamin and Theodor W. Adorno. In particular, the paper shows how, not only in Adorno but already in Benjamin, such a concept designates also the capacity of artwork to refers, by its own internal, to an irreducible otherness. In this perspective, in a world increasingly dominated by a tendency to homologation and mercification – with the resulting (...) identification of art and cultural industry –, contemporary art looks like a continuous oscillation between the will to deny aura and, other times, the awareness of its necessary survival, closely related (in particular, according to Adorno) to the recognition of the need to “save” not only the appearance but also, by that very fact, the aesthetic autonomy. (shrink)

This essay shows how, in Shakespeare’s Antony and Cleopatra, the relation between the protagonists can be seen as an insurmountable contrast between two different cultures – on the one hand, the “diurnal” and “rational” culture of Rome and, on the other hand, the “nocturnal” and “passionate” culture of Egypt –, but also as an opposition between two different ways of understanding the relation between illusion and reality, appearance and truth, and thus between theatre and life. More specifically, what emerges is (...) the awareness that art, embodied in Cleopatra’s beauty, constantly reminds us of the unredeemable finitude and transience of the human being, who is inevitably immersed in time. In this light, if art is able to become a manifestation of truth, the fact remains that such truth, as final sense, is something that art can “show”, but only to indicate its perpetually elusive character. It is indeed a truth which, like the indecipherable secret kept in the Mausoleum, cannot be “told” or “represented” once and for all. (shrink)

The essay proposes a notion of “icon” understood, according to the paradigm born of the Second Council of Nicaea, as a visible image of the invisible qua invisible. In this light, the distinctive feature of the icon-image is its ability to manifest the paradoxical identity-difference relationship that links visible and invisible, and, consequently, representable and unrepresentable, immanence and transcendence, eternity and time. By offering itself as the privileged place for the presentation of an absence and of a “withdrawal”, the icon (...) is distinguished in the first place by its apophatic and kenotic character. In this sense, the salient trait of the icon is its constitutive disquiet: it is founded on the “relational economy” of the image, which implies the need of an incessant articulation of the relation between visible and invisible. We can thus see in the icon the paradigm itself of “great art”: indeed, like the icon, great art is always primarily characterised by its disquiet, that is its ability to make transcendence appear in immanence, the Other of the visible appear in the visible. (shrink)

A novel and versatile polarization-entanglement scheme is adopted to investigate the violation of the EPR local realism for a non-maximally entangled two-photon system according to the recent “nonlocality proof” by Lucien Hardy. In this context the adoption of a sophisticated detection method allows direct determination of any “element of physical reality” (viz., determined “with probability equal to unity” in the words of Einstein, Podolsky and Rosen) for the pair system within complete measurements that are largely insensitive to the detector quantum-efficiencies (...) and noise. (shrink)

A simple line drawing can reproduce a vast collection of phenomenal discontinuities: optical, material, chromatic, and also of density, dimension, resistance. All these discontinuities correspond to physical realities quite different from each other. This fact leads us to consider that our brain can retrieve from a pencil stroke a broad and amazing lot information at several levels, from the physical to the phenomenological, from the logical to the cognitive. Drawing demonstrates the existence in our brain of a complex communication web (...) between the visual and action cortical areas and the zones of the paleo encephalon, indicating the biological necessity of establishing a continuity between vision and action, between representation and abstraction. Thus, drawing is a natural language, and represents a biological and expressive invariant; it is also a cultural language, the result of technical and symbolic development of a civilization; and it is, finally, an universal language, indeed the main communication system between different cultures. (shrink)

Important marine mammal areas (IMMAs)—‘discrete habitat areas, important for one or more marine mammal species, that have the potential to be delineated and managed for conservation’ (IUCN Marine Mammal Protected Areas Task Force 2018, p. 3)—were introduced in 2014 by the IUCN Marine Mammal Protected Areas Task Force to support marine mammal and wider ocean conservation. IMMAs provide decision-makers with a user-friendly, actionable tool to inform them of the whereabouts of habitat important for marine mammal survival. However, in view of (...) their non-prescriptive, evidence-based and biocentric nature, the conservation effectiveness of IMMAs is strictly dependent on politicians’ willingness to make use of them. It has been the customary task of advocacy non-governmental organisations to lobby decision-makers to stimulate respect for environmental law, but the scientific community is increasingly joining this effort. Scientists can effectively strengthen a healthy relationship between scientific objectivity and political advocacy without damaging the credibility of conservation science. Thus, those undertaking the identification of IMMAs can be among those responsible for strongly advocating the implementation of IMMAs and other conservation initiatives. (shrink)