There is converging evidence that high doses of hallucinogenic drugs can produce significant alterations of self-experience, described as the dissolution of the sense of self and the loss of boundaries between self and world. This article discusses the relevance of this phenomenon, known as “drug-induced ego dissolution (DIED)”, for cognitive neuroscience, psychology and philosophy of mind. Data from self-report questionnaires suggest that three neuropharmacological classes of drugs can induce ego dissolution: classical psychedelics, dissociative anesthetics and agonists of the kappa opioid (...) receptor (KOR). While these substances act on different neurotransmitter receptors, they all produce strong subjective effects that can be compared to the symptoms of acute psychosis, including ego dissolution. It has been suggested that neuroimaging of DIED can indirectly shed light on the neural correlates of the self. While this line of inquiry is promising, its results must be interpreted with caution. First, neural correlates of ego dissolution might reveal the necessary neurophysiological conditions for the maintenance of the sense of self, but it is more doubtful that this method can reveal its minimally sufficient conditions. Second, it is necessary to define the relevant notion of self at play in the phenomenon of DIED. This article suggests that DIED consists in the disruption of subpersonal processes underlying the “minimal” or “embodied” self, i.e., the basic experience of being a self rooted in multimodal integration of self-related stimuli. This hypothesis is consistent with Bayesian models of phenomenal selfhood, according to which the subjective structure of conscious experience ultimately results from the optimization of predictions in perception and action. Finally, it is argued that DIED is also of particular interest for philosophy of mind. On the one hand, it challenges theories according to which consciousness always involves self-awareness. On the other hand, it suggests that ordinary conscious experience might involve a minimal kind of self-awareness rooted in multisensory processing, which is what appears to fade away during DIED. (shrink)

This study applied a method of assisted introspection to investigate the phenomenology of mathematical intuition arousal. The aim was to propose an essential structure for the intuitive experience of mathematics. To achieve an intersubjective comparison of different experiences, several contemporary mathematicians were interviewed in accordance with the elicitation interview method in order to collect pinpoint experiential descriptions. Data collection and analysis was then performed using steps similar to those outlined in the descriptive phenomenological method that led to a generic structure (...) that accounts for the intuition surge in the experience of mathematics which was found to have four irreducible structural moments. The interdependence of these moments shows that a perceptualist view of intuition in mathematics, as defended by Chudnoff, is relevant to the characterization of mathematical intuition. The philosophical consequences of this generic structure and its essential features are discussed in accordance with Husserl’s philosophy of ideal objects and theory of intuition. (shrink)

From the height of his ninety years of experience, Robert G. Shulman is not just a veteran of World War II, but a world-class biophysicist with a distinguished research career spanning the California Institute of Technology, Bell Labs, and Yale University. A forerunner in the use of nuclear magnetic resonance, Shulman contributed to the study of biochemical processes, founded the Yale Magnetic Resonance Research Center, and shepherded functional Magnetic Resonance Imaging (fMRI) as a dominant tool of cognitive neuroscience. Together with (...) Gregory McCarthy et al., Shulman authored several of the earliest fMRI studies, including the first to explicitly manipulate cognitive processes (McCarthy, Blamire, Rothman, Gruetter, & Shulman, 1993; Shulman, Blamire, Rothman, & McCarthy, 1993). As such, his ideas concerning conscious research piqued our curiosity. We read Brain Imaging: What It Can (and Cannot) Tell Us About Consciousness with anticipation.Shulman comes full circle with his book on brain imaging: although his career spanned meaningful collaborations with behavioural scientists and interactions with researchers from preclinical and clinical fields, he retreats to the comfort of the biophysical sciences. Two prominent, but related, hesitations give us pause regarding his retreat. First, he claims that a behaviourist approach to brain imaging is reasonable and pragmatic for the science of consciousness. Second, he rebuffs subjective and phenomenal forms of evidence. In... (shrink)

This methodological article proposes a framework for analysing the relationship between cognitive processes and brain activity using variables measured by neurofeedback carried out by functional Magnetic Resonance Imagery . Cognitive processes and brain activity variables can be analysed as either the dependant variable or the independent variable. Firstly, we propose two traditional approaches, defined in the article as the “neuropsychological” approach and the “psychophysiology” approach , to extract dependent and independent variables in NF protocols. Secondly, we suggest that NF can (...) be inspired by the style of inquiry used in neurophenomenology. fMRI NF allows participants to experiment with his or her own cognitive processes and their effects on brain region of interest activations simultaneously. Thus, we suggest that fMRI NF could be improved by implementing “the elicitation interview method”, which allows the investigator to gather relevant verbatim from participants’ introspection on subjective experiences. (shrink)

Micro-phenomenology is an interview and analysis method for investigating subjective experience. As a research tool, it provides detailed descriptions of brief moments of any type of subjective experience and offers techniques for systematically comparing them. In this article, we use an auto-ethnographic approach to present and explore the method. The reader is invited to observe a dialogue between two authors that illustrates and comments on the planning, conducting and analysis of a pilot series of five micro-phenomenological interviews. All these interviews (...) asked experienced researchers of micro-phenomenology to browse their memories to identify one successful and one challenging instance of working with micro-phenomenology. The interview then focused on this reflective task to investigate whether applying the method to itself might reveal quality criteria. The article starts by presenting a shortened and edited version of the first of these interviews. Keeping the dialogue format, we then outline the micro-phenomenological analysis procedure by demonstrating its application to part of this data and corresponding passages of other interviews. We focus on one unexpected finding: interviewed researchers judge the quality of an interview in part based on a connection or contact between interviewer and interviewee. We discuss these results in the context of the means and intentions of the method and suggest avenues for future research. (shrink)

To this day, the study of the substratum of thought and its implied mechanisms is rarely directly addressed. Nowadays, systemic approaches based on introspective methodologies are no longer fashionable and are often overlooked or ignored. Most frequently, reductionist approaches are followed for deciphering the neuronal circuits functionally associated with cognitive processes. However, we argue that systemic studies of individual thought may still contribute to a useful and complementary description of the multimodal nature of perception, because they can take into account (...) individual diversity while still identifying the common features of perceptual processes. We propose to address this question by looking at one possible task for recognition of a “signifying sound”, as an example of conceptual grasping of a perceptual response. By adopting a mixed approach combining qualitative analyses of interviews based on introspection with quantitative statistical analyses carried out on the resulting categorization, this study describes a variety of mental strategies used by musicians to identify notes’ pitch. Sixty-seven musicians (music students and professionals) were interviewed, revealing that musicians utilize intermediate steps during note identification by selecting or activating cognitive bricks that help construct and reach the correct decision. We named these elements “mental anchorpoints”. Although the anchorpoints are not universal, and differ between individuals, they can be grouped into categories related to three main sensory modalities – auditory, visual and kinesthetic. Such categorization enabled us to characterize the mental representations that allow musicians to name notes in relationship to eleven basic typologies of anchorpoints. We propose a conceptual framework which summarizes the process of note identification in five steps, starting from sensory detection and ending with the verbalization of the note pitch, passing through the pivotal role of mental anchorpoints and mental representations. We found that musicians use multiple strategies and select individual combinations of mental anchorpoints belonging to these three different sensory modalities both in isolation and in combination. (shrink)

In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews based on video recordings of their performance were conducted (...) individually with all team members; and third, the performance was evaluated by external artistic swimming experts. By combining these levels of analysis in different ways, we explore how changes in togetherness and lived experience in individual behavior may shape, disrupt, and stabilize joint performance. Our findings suggest that the experience of being and acting together is transient and changing, often alternating phases of decrease and increase in felt togetherness that can be consistently recognized by swimmers and external raters. (shrink)

Imagine a scenario where you are cooking and suddenly, the contents of the pot start to come out, and the oven bell rings. You would have to stop what you are doing and start responding to the changing demands, switching between different objects, operations and mental sets. This ability is known as cognitive flexibility. Now, add to this scenario a strong emotional atmosphere that invades you as you spontaneously recall a difficult situation you had that morning. How would you behave? (...) Recent studies suggest that emotional states do modulate cognitive flexibility, but these findings are still controversial. Moreover, there is a lack of evidence regarding the underlying brain processes. The purpose of the present study was, therefore, to examine such interaction while monitoring changes in ongoing cortical activity using EEG. In order to answer this question, we used two musical stimuli to induce emotional states (positive/high arousal/open stance and negative/high arousal/closed stance). Twenty-nine participants performed two blocks of the Madrid Card Sorting Task (MCST) in a neutral silence condition and then four blocks while listening to the counterbalanced musical stimuli. To explore this interaction, we used a combination of first-person (micro-phenomenological interview) and third-person (behavior and EEG) approaches. Our results show that compared to the positive stimuli and silence condition, negative stimuli decrease reaction times (RTs) for the shift signal. Our data show that the valance of the first emotional block is determinant in the RTs of the subsequent blocks. Additionally, the analysis of the micro-phenomenological interview and the integration of first- and third-person data show that the emotional disposition generated by the music could facilitate task performance for some participants or hamper it for others, independently of its emotional valence. When the emotional disposition hampered task execution, RTs were slower, and the P300 potential showed a reduced amplitude compared to the facilitated condition. These findings show that the interaction between emotion and cognitive flexibility is more complex than previously thought and points to a new way of understanding the underlying mechanisms by incorporating an in-depth analysis of individual subjective experience. (shrink)