This article explores how the notion ofordinary aestheticscan stem, as well as the one ofordinary ethics, from thatrevolution of the ordinarystarted by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea ofordinary ethicsemphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of suchordinary (...) aestheticscan be found in thehaikupoetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core ofZenphilosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives. (shrink)

Many marine invertebrates have the ability to combine tissues with conspecifics and form chimeras. This ability is usually accompanied by the presence of a polymorphic self/non-self recognition system that allows integration of closely related individuals, but blocks interactions between those more distantly related. The presence of a discriminatory allorecognition system suggests that there are costs and benefits to chimerism that are correlated to relatedness, but the nature of these costs and benefits is still poorly understood. Interestingly, allorecognition is found throughout (...) the animal kingdom, with examples in nearly all the multicellular phyla; however, the role of allorecognition in these different species is not always clear. In addition, the molecular mechanisms underlying allorecognition in different species are not related, suggesting a unique origin for each species. This brings up the question as to whether there is a universal need for self/non-self recognition processes among the metazoa, or if these systems evolve in response to different selective pressures. We are studying allorecognition and chimerism in the colonial ascidian, Botryllus schlosseri. Allorecognition takes place at the tips of the extracorporeal vasculature, and can result in a parabiosis, or a rejection reaction that blocks vascular fusion. Fusion has both hypothesized benefits as well as well-documented costs. This article will focus on characterizing the costs and benefits of fusion and chimerism in Botryllus, and put them into the broader context of the role of allorecognition in the metazoa. (shrink)

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something (...) as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation. (shrink)

Francesco d'Assisi come spunto, nel film di Rossellini, per una riflessione sui temi della marginalità sociale e dell'anticonformismo.

Qu’a donc « voulu dire » l’artiste? Qu’a-t-il recherché? Cette question peut sembler dépassée ou naïve, comme si l’œuvre se suffisait à elle-même. Pour Alessandro Pignocchi, il est impossible de comprendre nos relations aux œuvres d’art sans s’interroger sur les intentions de l’artiste. Les avancées récentes en sciences cognitives suggèrent en effet que chaque aspect de notre expérience d’une œuvre est façonné par les intentions que nous attribuons, pour la plupart inconsciemment, à l’artiste. Nous percevons par exemple, à notre (...) insu, de nombreuses propriétés des œuvres d’art – les traits d’un dessin, certains aspects de la structure des films ou des phrases d’un roman – comme le fruit d’intentions et d’actions que nous aurions nous-mêmes pu produire. Réflexion pluridisciplinaire, cet ouvrage revisite des thèmes classiques de la philosophie de l’art – le concept d’œuvre, la place de l’auteur, du contexte, le rapport de l’œuvre au temps, le statut du jugement artistique – et élabore une série d’outils de pensée visant à enrichir nos relations aux œuvres d’art. Alessandro Pignocchi est docteur de l’EHESS en philosophie et en sciences cognitives, membre de l’Institut Jean-Nicod. Il est aussi illustrateur. (shrink)

Current climate change has raised concerns over the fate of the stenothermal Antarctic marine fauna (animals that evolved to live in narrow ranges of cold temperatures). The present paper focuses on Notothenioidei, a taxonomic group that dominates Antarctic fish. Notothenioids evolved in the Southern Ocean over the last 20 million years, providing an example of a marine species flock with unique adaptations to the cold at morphological, physiological and biochemical levels. Their phenotypic modifications are often accompanied by ‘irreversible’ genomic losses (...) or gene amplifications. On a micro‐evolutionary scale, relatively ‘shallow’ genetic variation is observed, on account of past fluctuations in population size, and a significant genetic structure is evident, suggesting low population connectivity. These features suggest that Antarctic fish might have relatively little potential to adapt to global warming, at least at a genetic level. The extent of their phenotypic plasticity, which is evident to some degree, awaits further research. (shrink)

Current climate change has raised concerns over the fate of the stenothermal Antarctic marine fauna (animals that evolved to live in narrow ranges of cold temperatures). The present paper focuses on Notothenioidei, a taxonomic group that dominates Antarctic fish. Notothenioids evolved in the Southern Ocean over the last 20 million years, providing an example of a marine species flock with unique adaptations to the cold at morphological, physiological and biochemical levels. Their phenotypic modifications are often accompanied by ‘irreversible’ genomic losses (...) or gene amplifications. On a micro‐evolutionary scale, relatively ‘shallow’ genetic variation is observed, on account of past fluctuations in population size, and a significant genetic structure is evident, suggesting low population connectivity. These features suggest that Antarctic fish might have relatively little potential to adapt to global warming, at least at a genetic level. The extent of their phenotypic plasticity, which is evident to some degree, awaits further research. (shrink)

The interaction between the recovery of the artist’s intentions and the perception of an artwork is a classic topic for philosophy and history of art. It also frequently, albeit sometimes implicitly, comes up in everyday thought and conversation about art and artworks. Since recent work in cognitive science can help us understand how we perceive and understand the intentions of others, this discipline could fruitfully participate in a multidisciplinary investigation of the role of intention recovery in art perception. The method (...) I propose is to look for cases where recovery of the artist’s intentions interacts with perception of a work of art, and this cannot be explain by a simple top-down influence of conscious propositional knowledge on perception. I will focus on drawing and show that recovery of the draftsman’s intentional actions is handled by a psychological process shaped by the motor system of the observer. (shrink)

The role of personal background knowledge—in particular knowledge about the context of production of an artwork—has been only marginally taken into account in cognitive approaches to art. Addressing this issue is crucial to enhancing these approaches’ explanatory power and framing their collaboration with the humanities (Bullot and Reber 2012). This paper sketches a model of the experience of artworks based on the mechanisms of intention attribution, and shows how this model makes it possible to address the issue of personal background (...) knowledge empirically. I claim that the role of intention attribution in art experience has been incorrectly accounted in the literature because of an overly narrow definition of “intention.” I suggest that the observer can recover not only the artist’s abstract projects, but any kind of mental states that have played a causal role during the production of the work. In addition, I suggest that this recovery occurs in large part unconsciously and/or implicitly. I provide support for these claims by distinguishing three families of psychological mechanisms of intention attribution that are activated by artworks: one involved in the cognition of artifacts, one devoted to communication, and one involved in action perception. (shrink)

Over the last decades, disciplines such as cognitive psychology, evolutionary psychology and the neurosciences have shown an increasing interest for art. It remains unclear what kind of relation these "young disciplines" should have with more traditional endeavors and, more generally, in which way they can enrich our understanding of art. In this paper, I lay down the foundations of a methodological framework which distinguishes between three basic topics: the investigation of the cognitive phenomena elicited by the experience of things that (...) we call 'artworks', the investigation of the psychological structures determining the intuitive categorization of something as art and the study of the intuitions and arguments used to build justifications about whether something is a work of art. Each of these topics can benefit from the cognitive approaches, provided that some specific methodological recommendations are respected. (shrink)

The alleged neural basis of empathic responses to artworks is only of marginal relevance for aesthetics and for cognitive theories of art.

The practice of drawing is an ideal study case for framing a cognitive approach to art. In this paper I enumerate six constraints that must be respected by any cognitive theory of drawing production. I evaluate the two major existing theories - Ruskin's theory of the innocent eye and Gombrich' theory of graphic schemes - and show the superiority of Gombrich' theory. I finally provide the first elements for a psychological development of the theory of graphic schemes.

The practice of drawing is an ideal study case for framing a cognitive approach to art. In this paper I enumerate six constraints that must be respected by any cognitive theory of drawing production. I evaluate the two major existing theories – Ruskin’s theory of the innocent eye and Gombrich’ theory of graphic schemes – and show the superiority of Gombrich’ theory. I finally provide the first elements for a psychological development of the theory of graphic schemes.

v. 1. Morando e Billia -- v. 2. L'ermeneutica della fedeltà. Morale religione arte in Bozzetti.

This paper investigates a the cognitive foundations of a pragmatic account of line drawings. It sets to highlight those features of line drawings that make them, as opposed to other types of visual representations, particularly conducive to communication. It is argued that representational and artifactual properties of drawings must be investigated together in order to understand the peculiarities of drawings as communicative tools.

Evolutionary developmental biology (evo-devo) has undergone dramatic transformations since its emergence as a distinct discipline. This paper aims to highlight the scope, power, and future promise of evo-devo to transform and unify diverse aspects of biology. We articulate key questions at the core of eleven biological disciplines—from Evolution, Development, Paleontology, and Neurobiology to Cellular and Molecular Biology, Quantitative Genetics, Human Diseases, Ecology, Agriculture and Science Education, and lastly, Evolutionary Developmental Biology itself—and discuss why evo-devo is uniquely situated to substantially improve (...) our ability to find meaningful answers to these fundamental questions. We posit that the tools, concepts, and ways of thinking developed by evo-devo have profound potential to advance, integrate, and unify biological sciences as well as inform policy decisions and illuminate science education. We look to the next generation of evolutionary developmental biologists to help shape this process as we confront the scientific challenges of the 21st century. (shrink)

Background:Smart Aging is a serious game (SG) platform that generates a 3D virtual reality environment in which users perform a set of screening tasks designed to allow evaluation of global cognition. Each task replicates activities of daily living performed in a familiar environment. The main goal of the present study was to ascertain whether Smart Aging could differentiate between different types and levels of cognitive impairment in patients with neurodegenerative disease.Methods:Ninety-one subjects (mean age = 70.29 ± 7.70 years)—healthy older adults (...) (HCs,n= 23), patients with single-domain amnesic mild cognitive impairment (aMCI,n= 23), patients with single-domain executive Parkinson's disease MCI (PD-MCI,n= 20), and patients with mild Alzheimer's disease (mild AD,n= 25)—were enrolled in the study. All participants underwent cognitive evaluations performed using both traditional neuropsychological assessment tools, including the Mini-Mental State Examination (MMSE), Montreal Overall Cognitive Assessment (MoCA), and the Smart Aging platform. We analyzed global scores on Smart Aging indices (i.e., accuracy, time, distance) as well as the Smart Aging total score, looking for differences between the four groups.Results:The findings revealed significant between-group differences in all the Smart Aging indices: accuracy (p< 0.001), time (p< 0.001), distance (p< 0.001), and total Smart Aging score (p< 0.001). The HCs outperformed the mild AD, aMCI, and PD-MCI patients in terms of accuracy, time, distance, and Smart Aging total score. In addition, the mild AD group was outperformed both by the HCs and by the aMCI and PD-MCI patients on accuracy and distance. No significant differences were found between aMCI and PD-MCI patients. Finally, the Smart Aging scores significantly correlated with the results of the neuropsychological assessments used.Conclusion:These findings, although preliminary due to the small sample size, suggest the validity of Smart Aging as a screening tool for the detection of cognitive impairment in patients with neurodegenerative diseases. (shrink)

Studies on age-related differences in risk perception in a real-world situation, such as the recent COVID-19 outbreak, showed that the risk perception of getting COVID-19 tends to decrease as age increases. This finding raised the question on what factors could explain risk perception in older adults. The present study examined age-related differences in risk perception in the early stages of COVID-19 lockdown, analyzing variables that can explain the differences in perception of risk at different ages. A total of 1,765 adults (...) aged between 18 and 87 years old completed an online survey assessing perceived risk severity and risk vulnerability of getting COVID-19, sociodemographic status, emotional state, experience relating to COVID-19, and physical health status. Results showed that the older the participants, the lower the perceived vulnerability to getting COVID-19, but the higher the perceived severity. Different predictors explain the perception of risk severity and vulnerability at different ages. Overall, self-reported anxiety over the pandemic is a crucial predictor in explaining risk perceptions in all age groups. Theoretical and practical implications of the empirical findings are discussed. (shrink)

Little is known about the impact of success and failure events on age-related changes in affect states and, particularly, in self-esteem levels. To fill this gap in the literature, in the present study changes in affect and self-esteem in 100 young (19 - 30 years) and 102 older adults (65-81 years) were assessed after participants experienced success and failure in a demanding cognitive task. Overall, the success-failure manipulation induced changes on affect states and on state self-esteem, not on trait self-esteem. (...) Regarding age differences, older and young adults were affected to the same extent by experiences of successes and failures. Theoretical considerations of the empirical findings are provided in the general discussion. (shrink)