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Alberto G. Urquidez 《The Journal of value inquiry》2018,52(4):437-455
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Philosophical Studies - A central debate in the current philosophical literature on temporal experience is over the following question: do temporal experiences themselves have a temporal structure... 相似文献
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Some authors have suggested that certain components of the event-related potentials (ERPs) reflect underlying stages in the discrimination process. Previous studies have shown that in an auditive three-choice reaction-time task the discrimination is accomplished as a two-stage process, with the more frequently occurring stimulus discriminated at an earlier point than the rarer stimulus and the subjects could be classified as fast and slow responders in function of their response to the most frequent of the three tones. We continuously recorded the electrocerebral activity (EEG) from the scalp and the electromyographic activity (EMG) from the responding muscles in a visual three-choice reaction-time task in 10 strictly right-handed subjects. EEG and EMG responses were subsequently analyzed off-line by aligning them by the onset of either the stimulus (stimulus-synchronized) or the response (response-synchronized). The results suggest that processes of visual stimuli evaluation and response execution are continuously integrated. The discrimination and response systems to visual stimuli is accomplished as a three-stage process, one to frequent tone, another for rare 1, and the last for rare 2. The subjects were classified as fast and slow responders in function of their response to the most frequent of the three tones. 相似文献
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Alberto Voltolini 《Pacific Philosophical Quarterly》2020,101(2):224-239
According to an intuitive claim, in saying that one sees a picture's subject, i.e., what a picture presents, in the picture's vehicle, i.e., the picture's physical basis, by ‘in’ one does not mean the spatial relation of being in, as holding between such items in the real space. For the picture's subject is knowingly not in the real space where one veridically sees the picture's vehicle. Some theories of pictorial experience have actually agreed with this intuition by claiming that the picture's subject lies in a pictorial space of its own, disconnected from the real space that includes the picture's vehicle. Yet, not only linguistic evidence suggests that when used as above, ‘in’ means precisely that very relation, but an appropriate theory of pictorial experience can justify the above claim. 相似文献
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