The neurocognitive structure of the acting self has recently been widely studied, yet is still perplexing and remains an often confounded issue in cognitive neuroscience, psychopathology and philosophy. We provide a new systematic account of two of its main features, the sense of agency and the sense of ownership, demonstrating that although both features appear as phenomenally uniform, they each in fact are complex crossmodal phenomena of largely heterogeneous functional and representational levels. These levels can be arranged within a gradually (...) evolving, onto- and phylogenetically plausible framework which proceeds from basic non-conceptual sensorimotor processes to more complex conceptual and meta-representational processes of agency and ownership, respectively. In particular, three fundamental levels of agency and ownership processing have to be distinguished: The level of feeling, thinking and social interaction. This naturalistic account will not only allow to “ground the self in action”, but also provide an empirically testable taxonomy for cognitive neuroscience and a new tool for disentangling agency and ownership disturbances in psychopathology. (shrink)

Two major lines of argument support the notion that Hildegard of Bingen’s metaphysics is peculiarly gynocentric. Contra the standard commentary on her work, the focus is not on the notion of viriditas; rather, the first line of argument presents a specific delineation of her ontology, demonstrating that it is a graded hierarchy of beings, many of which present feminine aspects of the divine, and all of which establish the metaphysical notion of interpenetrability. The second line of argument specifically contrasts (...) her thought to that of Aquinas and Meister Eckhart, noting areas of similarity and difference. It is concluded that the visionary origins of Hildegard’s work may have to some extent precluded our understanding of it, and that her work merits consideration not only philosophically and theologically but from the standpoint of its early presentation of a gynocentric worldview. (shrink)

The aim of this paper is to discuss monastic paideia in the context of providing shelter for ASD individuals in the High Middle Ages. Firstly, we will canvas the historical and conceptual shift from Ancient Greek paideitic ideas to their Christian counterparts. Then, by drawing on the recent literature in the history of medicine that traces the signs and symptoms of autism spectrum disorder (ASD) in Hildegard of Bingen, a German abbess in the 12th century, we will turn to (...) her invented language Lingua Ignota as a source of both her diagnosis and a manner of dealing with her disability. This, in turn, could be further advanced by identifying monasteries as therapeutic loci for neuroatypical individuals who had trouble finding their place within the arid and somewhat monochromatic medieval society. (shrink)

Emotions and feelings (i.e. affects) are a central feature of human behavior. Due to complexity and interdisciplinarity of affective phenomena, attempts to define them have often been unsatisfactory. This article provides a simple logical structure, in which affective concepts can be defined. The set of affects defined is similar to the set of emotions covered in the OCC model, but the model presented in this article is fully computationally defined, whereas the OCC model depends on undefined concepts. Following Matthis, affects (...) are seen as unconscious, emotions as preconscious and feelings as conscious. Affects are thus a superclass of emotions and feelings with regards to consciousness. A set of affective states and related affect-specific behaviors and strategies can be defined with unconscious affects only. -/- In addition, affects are defined as processes of change in the body state, that have specific triggers. For example, an affect of hope is defined as a specific body state that is triggered when the agent is becomes informed about a future event, that is positive with regards to the agent’s needs. -/- Affects are differentiated from each other by types of causing events. Affects caused by unexpected positive, neutral and negative events are delight, surprise and fright, respectively. Affects caused by expected positive and negative future events are hope and fear. -/- Affects caused by expected past events are as follows: satisfaction results from a positive expectation being fulfilled, disappointment results from a positive expectation not being fulfilled, fears-confirmed results from a negative expectation being fulfilled, and relief results from a negative expectation not being fulfilled. Pride is targeted towards a self-originated positive event, and shame towards a self-originated negative event. Remorse is targeted towards a self-originated action causing a negative event. Pity is targeted towards a liked agent experiencing a negative event, and happy-for towards a liked agent experiencing a positive event. Resentment is targeted towards a disliked agent experiencing a positive event, and gloating towards a disliked agent experiencing a negative event. An agent is liked/loved if it has produced a net utility greater than zero, and disliked/hated if the net utility is lower than zero. An agent is desired if it is expected to produce a positive net utility in the future, and disliked if the expected net utility is negative. -/- The above model for unconscious affects is easily computationally implementable, and may be used as a starting point in building believable simulation models of human behavior. The models can be used as a starting point in the development of computational psychological, psychiatric, sociological and criminological theories, or in e.g. computer games. -/- [please cite using the arXiv url below.]. (shrink)

The soundwalk was invented as part of the initiatives undertaken by the World Soundscape Project group with an acoustic ecology profile, which emphasised the noise pollution that exists in people’s sonic environment and the need to reacquire our ‘lost skill’ of conscious listening. Initially, the practice of soundwalking was used as a method allowing us to ‘hone our hearing’ (to boost our sonological competence), to show the human condition with respect to modern reality. Soon, the soundwalk became an inspiration for (...) many artistic undertakings that made use of the sonic properties of the environment and employed various listening strategies. This article is designed to present the idea of soundwalking since its theory and practices began to form. By presenting selected works by Hildegard Westerkamp, I intend to show the motivations behind the practice of soundwalking, which encompass the complex issues of perceiving and assessing city sounds. I refer these to Tim Ingold’s proposition to understand sound as a medium of experience. Soundwalking, as a practice of conscious listening by focusing attention on aural sensations, paradoxically seems to reveal the multi‑sensory structure of our relationship with the world, and the mediatory function of sound in our experience of being‑in‑the‑world. (shrink)