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  1. The interoceptive underpinnings of the feeling of being alive. Damasio’s insights at work.Emilia Barile - 2023 - Phenomenology and the Cognitive Sciences 1 (3):1-23.
    The feeling of being alive still constitutes a major blind spot of contemporary affective sciences research. The mainstream view accepts it as an ‘umbrella notion’ comprising different states, such as M. Ratcliffe’s «feelings of being», T. Fuchs’s «feeling of being alive», E.M. Engelen’s «Gefühl des Lebendigseins», etc. In contrast, I argue for an account of the feeling of being alive as a unique feeling that can be described in several ways. Empirical support for this view comes mainly from Carvalho and (...)
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  • Cognitive Science Below the Neck: Toward an Integrative Account of Consciousness in the Body.Leonardo Christov-Moore, Alex Jinich-Diamant, Adam Safron, Caitlin Lynch & Nicco Reggente - 2023 - Cognitive Science 47 (3):e13264.
    Our culture and its scientific endeavor direly need a holistic characterization of mind and body. Many phenomena attest to the profound effects of beliefs on bodily function (e.g., open-label placebo's effects on chronic pain) and interoceptive systems’ role in mental processes (e.g., the emerging role of gut microbiomes in the mood). We need a mechanistic, integrative framework to account for these phenomena and generate novel predictions. Major advances have been made in understanding how the nervous system senses and regulates the (...)
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  • Revisiting consciousness: Distinguishing between states of conscious focused attention and mind wandering with EEG.M. R. Dias da Silva, Ó. F. Gonçalves, D. Branco & M. Postma - 2022 - Consciousness and Cognition 101:103332.
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  • Human evolution of gestural messaging and its critical role in the human development of music.Martin F. Gardiner - 2021 - Behavioral and Brain Sciences 44.
    By fostering bonding, music illustrates marvelously its ability to induce emotional experience. But, music can induce emotion more generally as well. To help explain how music fosters bonding and induces other emotions, I propose that music derives this power from the evolution of what I term “gestural messaging.”.
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