Psychopathology is the study of the signs and symptoms of psychiatric disorders - delusions, hallucinations, phobias, depression, for example. This book gives an account of the terms currently in use and attempts an in-depth analysis of the nature of each. The matter is examined both from a philosophical perspective and from the point of view of what is known about the function of the hemispheres of the brain.

Popular movies present chunk-like events that promote episodic, serial updating of viewers’ representations of the ongoing narrative. Event-indexing theory would suggest that the beginnings of new scenes trigger these updates, which in turn require more cognitive processing. Typically, a new movie event is signaled by an establishing shot, one providing more background information and a longer look than the average shot. Our analysis of 24 films reconfirms this. More important, we show that, when returning to a previously shown location, the (...) re-establishing shot reduces both context and duration while remaining greater than the average shot. In general, location shifts dominate character and time shifts in event segmentation of movies. In addition, over the last 70 years re-establishing shots have become more like the noninitial shots of a scene. Establishing shots have also approached noninitial shot scales, but not their durations. Such results suggest that film form is evolving, perhaps to suit more rapid encoding of narrative events. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.4 (2001) 337-338 [Access article in PDF] On Kimura's Écrits de psychopathologie phénomenologique John Cutting This book is a French translation of six articles that the Japanese psychiatrist, Kimura Bin, wrote in the 1970s and 1980s. There is the usual long introduction in such books by the translator. There is also the mandatory explanation of the whole matter as a postface by philosopher Henry Maldiney (...) as if the meaning of anything these days has to be in the form of a sandwich.The first article by Kimura Bin deals with the meaning of certain Japanese words pertaining to self and inter-subjectivity. The critical Japanese word is aida, which means something like interpersonal bonding and is that primordial state of the human being that founds both everyday sociality and the individual self, the latter both in its external and internal composition and orientation: "From time immemorial, the Japanese understood interpersonal social existence, the being between, life in the aida of itself and of others, as the essential trait of an individual human. The interpersonal aida is in some sense the quintessence of known individuality." Schizophrenia, for Kimura, stems from a disturbance in this aida at the most fundamental level, and all its manifestations follow from this.The second article is entitled "Time and Anxiety (Angoisse)." This sets out his major psychopathological thesis—judging from these six articles—which is that schizophrenia and depressive illness differ fundamentally in their temporality. In schizophrenia the subject is geared toward the future: "Subjects with a schizophrenic tendency give sufficient proof in their daily life of a marked inclination to imagine future possibilities or ideas whose feasibility is impossible or implausible." In depressive illness there is a preoccupation with the past: "The lived time of the melancholic type of person has a preponderance towards the past, or, more precisely, towards lived being up to the present."The third article, entitled "Schizophrenic Temporality," amplifies this thesis and introduces his terminology for these, respectively, as the Latin terms, ante festum and post festum. The French translation gives the meaning of the latter as "apres la fête" and "trop tard"—after the holiday, too late. (I shall deal with the potpourri of languages involved below.) This article is the most elaborate, and in it Kimura attempts to derive the core characteristics of the two nosological entities from these two underlying anomalous temporalities.The fourth article is about borderline states, a nosological entity that I have no sympathy for, and I shall not discuss it.The fifth article is entitled "Reflection and Self in Schizophrenia." Again, it concerns a fundamental difference between the mode of reflection in schizophrenia and that in depressive illness, but I cannot say, despite numerous readings, [End Page 337] that I understand it. The reason for this may be my poor French, an inadequate translation, or a confused formulation in the first place, or all three. The gist of it seems to be that in schizophrenia the "other" is a "stranger" projected by the thinking self, whereas in depressive illness the "other" is a "familiar" inhabitant of the sociality adherent to this condition.The sixth article, "Pathology of Immediateness," is an attempt to seek philosophical, theoretical, psychopathological, and even nosological and biological backing for what Kimura has set out earlier, particularly in the third article. Hegel, Lacan, Bergson, Heidegger, Derrida, and Husserl are brought in as philosophical support. Blankenburg and Binswanger provide psychopathological backing. A third prong is the nosological tradition, prevalent in Germany and Japan in the twentieth century, of promoting the concept of an atypical or third type of psychosis with a biological resemblance to epileptic psychosis. All this is then brought together and complicated by a discussion of language and 'mediation' to support the notion that there is a third psychopathological principle—in addition to the ante festum pertaining to schizophrenia and the post festum pertaining to depressive illness—which is that of an intra festum: a preoccupation with the now, characteristic of atypical psychoses with an epileptic basis.These articles tax one's linguistic and conceptual repertoire to the... (shrink)

Menninghaus et al. pose two open-ended questions: To what extent do formal elements of art elicit negative affect, and do artists try to elicit this response in a theory-based or intuitive manner? For popular movies, we argue that the consideration of their construction is prior to the consideration of the experience that they evoke.

Pickering & Garrod (P&G) argue that contemporary models of language use are inadequate. This has resulted largely because of an experimental focus on monologue rather than dialogue. I agree with the need for increased experimentation that focuses on the interplay between production and comprehension. However, I have some concerns about the Interactive Alignment model that the authors propose.

Nijhawan argues that neural compensation is necessary to account for couplings of perception and action. Although perhaps true in some cases, computational tolerance for asynchronously arriving continuous information is of more importance. Moreover, some of the everyday venues Nijhawan uses to argue for the relevance of prediction and compensation can be better ascribed to skill.

Primary, or basic, colors have been discussed for centuries. Over time, three criteria have emerged on their behalf: (a) their physical mixture yielding all other spectral colors, (b) the physiological attunement of receptors or pathways to particular wavelengths, and (c) the etymological history of the color term. These criteria can be applied usefully to taste to clarify issues.

The concepts of invariants and cues are useful, as are those of dorsal and ventral streams, but Norman overgeneralizes when interweaving them. Cues are not confined to identification tasks, invariants not to action, and both can be learned.