The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality forms (...) enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

Although the historical reputation of Gottfried Wilhelm Leibniz (1646–1716) largely rests on his philosophical and mathematical work, it is widely known that he made important contributions to many of the emerging but still inchoate branches of natural science of his day. Among the many scientific papers Leibniz published during his lifetime are ones on the nascent science we now know as hydrology. While Leibniz’s other scientific work has become of increasing interest to scholars in recent years, his thinking about hydrology (...) has been neglected, despite being relatively broad in extent, including as it does papers on the ‘raising of vapours’ and the formation of ice, as well as the separation of salt and fresh water. That list can now be extended still further following the discovery of a previously unpublished letter of Leibniz’s on the causes of the devastating Lombardy flood of October and November 1705. This letter, which will be the focus of our paper, reveals the depth of Leibniz’s understanding of key hydrological processes. In it, he considers various mechanisms for the flood, such as heavy rains on high ground, underwater earthquakes, and a mountain collapse. Over the course of the paper we examine each of these mechanisms in depth, and show that Leibniz was in the vanguard of hydrological thinking. We also show that the letter contains one of the first scholarly attempts to apply aspects of the still-forming notion of the hydrological cycle to account for a flood event. (shrink)

The main objective of this dissertation is to philosophically assess how the use of informational concepts in the field of classical thermostatistical physics has historically evolved from the late 1940s to the present day. I will first analyze in depth the main notions that form the conceptual basis on which 'informational physics' historically unfolded, encompassing (i) different entropy, probability and information notions, (ii) their multiple interpretative variations, and (iii) the formal, numerical and semantic-interpretative relationships among them. In the following, I (...) will assess the history of informational thermophysics during the second half of the twentieth century. Firstly, I analyse the intellectual factors that gave rise to this current in the late forties (i.e., popularization of Shannon's theory, interest in a naturalized epistemology of science, etc.), then study its consolidation in the Brillouinian and Jaynesian programs, and finally claim how Carnap (1977) and his disciples tried to criticize this tendency within the scientific community. Then, I evaluate how informational physics became a predominant intellectual current in the scientific community in the nineties, made possible by the convergence of Jaynesianism and Brillouinism in proposals such as that of Tribus and McIrvine (1971) or Bekenstein (1973) and the application of algorithmic information theory into the thermophysical domain. As a sign of its radicality at this historical stage, I explore the main proposals to include information as part of our physical reality, such as Wheeler’s (1990), Stonier’s (1990) or Landauer’s (1991), detailing the main philosophical arguments (e.g., Timpson, 2013; Lombardi et al. 2016a) against those inflationary attitudes towards information. Following this historical assessment, I systematically analyze whether the descriptive exploitation of informational concepts has historically contributed to providing us with knowledge of thermophysical reality via (i) explaining thermal processes such as equilibrium approximation, (ii) advantageously predicting thermal phenomena, or (iii) enabling understanding of thermal property such as thermodynamic entropy. I argue that these epistemic shortcomings would make it impossible to draw ontological conclusions in a justified way about the physical nature of information. In conclusion, I will argue that the historical exploitation of informational concepts has not contributed significantly to the epistemic progress of thermophysics. This would lead to characterize informational proposals as 'degenerate science' (à la Lakatos 1978a) regarding classical thermostatistical physics or as theoretically underdeveloped regarding the study of the cognitive dynamics of scientists in this physical domain. (shrink)

With a Call for Essays, the special issue Multimodality sought contributions that accept not only the material but also the body-bound dependence of media perception and understanding. To this end, contributions were included that shed light on both the structural and signifying potential of artistic works through multimodal analysis. Particular attention was paid to contributions that clarify how the structural features - the modes - of the arts, their perception, and their signifying potential in terms of content are interrelated and (...) how they are to be understood in communicative and thus socioculturally relevant terms. Thus, in addition to neuroscientific contributions, those from cultural anthropology, art history, image and art studies, and literary studies were included. -/- Articles -/- 8 Martina Sauer and Christiane Wagner - Introduction -/- 11 Giada Lombardi and Giuseppe Di Cesare - From Neuroscience to Art: The Role of ‘Vitality Forms’ in the Investigation of Multimodality -/- 25 Martina Sauer - Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer’s, Langer’s and Krois’ Embodiment Theories -/- 49 Göran Sonesson - The Secrets of Plastic Language Revealed: Multimodality, Polysemiosis, and Iconicity -/- 71 Natalia Igl - Making Sense of the Material: Multisensory Reader Involvement in Contemporary Multimodal Novels -/- 87 J. Philippe Thompson - Art is All: Proust’s Life Lessons Through Perception and Art -/- 107 Hans Dieter Huber - Philippe Parreno and the Exhibition as a Multimodal Aesthetic Experience -/- 135 Jörg U. Lensing - The Performing Human Being in a Media Interaction Space: Multi- and intermodal productions by the Düsseldorf Theater der Klänge (Theatre of Sounds) . (shrink)