A Postcard from the Fortress: Vulnerable Patients and Therapists in a Changing European Mindscape

The therapeutic encounter with refugees represents an ethical and professional challenge also as struggle to help these uprooted and traumatized patients integrate and make meaning even of the most disturbing experiences. A personal and clinical account – inside and outside the consulting room – is offered, on the backdrop of the growing misuse of migration in the European political discourse.     

Embodied memories: Reviewing the role of the body in memory processes

Psychonomic Bulletin & Review - This review aims at exploring the role of the body and its sensorimotor processes in memory. Recent theories have suggested that memories can profitably be seen...     

Negation on the Australian Plan

Journal of Philosophical Logic - We present and defend the Australian Plan semantics for negation. This is a comprehensive account, suitable for a variety of different logics. It is based on two...     

The role of kinematic mental simulation in creating false memories

Our investigation focuses on memory for scenes depicted in photos. According to the mental model theory, the observation of a static scene depicted in a photo which portrays an actor near to perform an action can trigger a kinematic mental simulation of that action unfolding in time. The deriving prediction is that such a kinematic mental model supports the creation of a false memory of the actor performing an advanced phase of the action. We test this prediction in three experiments in which participants are presented with static scenes of actions, and after three days they perform a recognition task in which they assess recognition of old and novel static scenes depicting actions. The results confirm that false memories occur for actions that represent the unfolding over time of the static action initially observed. Our theoretical framework can accommodate also several previous findings in the literature on false memories.     

Improving left spatial neglect through music scale playing

The study assessed whether the auditory reference provided by a music scale could improve spatial exploration of a standard musical instrument keyboard in right‐brain‐damaged patients with left spatial neglect. As performing music scales involves the production of predictable successive pitches, the expectation of the subsequent note may facilitate patients to explore a larger extension of space in the left affected side, during the production of music scales from right to left. Eleven right‐brain‐damaged stroke patients with left spatial neglect, 12 patients without neglect, and 12 age‐matched healthy participants played descending scales on a music keyboard. In a counterbalanced design, the participants' exploratory performance was assessed while producing scales in three feedback conditions: With congruent sound, no‐sound, or random sound feedback provided by the keyboard. The number of keys played and the timing of key press were recorded. Spatial exploration by patients with left neglect was superior with congruent sound feedback, compared to both Silence and Random sound conditions. Both the congruent and incongruent sound conditions were associated with a greater deceleration in all groups. The frame provided by the music scale improves exploration of the left side of space, contralateral to the right hemisphere, damaged in patients with left neglect. Performing a scale with congruent sounds may trigger at some extent preserved auditory and spatial multisensory representations of successive sounds, thus influencing the time course of space scanning, and ultimately resulting in a more extensive spatial exploration. These findings offer new perspectives also for the rehabilitation of the disorder.     

Small-sample characterization of stochastic approximation staircases in forced-choice adaptive threshold estimation

Despite the widespread use of up-down staircases in adaptive threshold estimation, their efficiency and usability in forced-choice experiments has been recently debated. In this study, simulation techniques were used to determine the small-sample convergence properties of stochastic approximation (SA) staircases as a function of several experimental parameters. We found that satisfying some general requirements (use of the accelerated SA algorithm, clear suprathreshold initial stimulus intensity, large initial step size) the convergence was accurate independently of the spread of the underlying psychometric function. SA staircases were also reliable for targeting percent-correct levels far from the midpoint of the psychometric function and performed better than classical up-down staircases with fixed step size. These results prompt the utilization of SA staircases in practical forced-choice estimation of sensory thresholds.     

Off the beaten track: Freud,sound and music.Statement of a problem and some historico‐critical notes1

The authors note that the element of sound and music has no place in the model of mental functioning bequeathed to us by Freud, which is dominated by the visual and the representational. They consider the reasons for this exclusion and its consequences, and ask whether the simple biographical explanation offered by Freud himself is acceptable. This contribution reconstructs the historical and cultural background to that exclusion, cites some relevant emblematic passages, and discusses Freud’s position on music and on the aesthetic experience in general. Particular attention is devoted to the relationship between Freud and Lipps, which is important both for the originality of Lipps’s thinking in the turn‐of‐the‐century debate and for his ideas on the musical aspects of the foundations of psychic life, at which Freud ‘stopped’, as he himself wrote. Moreover, the shade of Lipps accompanied Freud throughout his scientific career from 1898 to 1938. Like all foundations, that of psychoanalysis was shaped by a system of inclusions and exclusions. The exclusion of the element of sound and music is understandable in view of the cultural background to the development of the concepts of the representational unconscious and infantile sexuality. While the consequences have been far reaching, the knowledge accumulated since that exclusion enables us to resume, albeit on a different basis, the composition of the ‘unfinished symphony’ of the relationship between psychoanalysis and music.     

A modified mark test for own-body recognition in pig-tailed macaques (Macaca nemestrina)

Classic mirror self-recognition mark tests involve familiarizing the subject with its mirror image, surreptitiously applying a mark on the subject’s eyebrow, nose, or ear, and measuring self-directed behaviors toward the mark. For many non-human primate species, however, direct gaze at the face constitutes an aggressive and threatening signal. It is therefore possible that monkeys fail the mark test because they do not closely inspect their faces in a mirror and hence they have no expectations about their physical appearance. In the current study, we prevented two pig-tailed macaques (Macaca nemestrina) from seeing their own faces in a mirror, and we adopted a modified version of the classic mark test in which monkeys were marked on the chest, a body region to which they normally have direct visual access but that in the current study was visible only via a mirror. Neither monkey tried to touch the mark on its chest, possibly due to a failure to understand the mirror as a reflective surface. To further the monkeys’ understanding of the mirror image, we trained them to reach for food using the mirror as the only source of information. After both monkeys had learned mirror-mediated reaching, we replicated the mark test. In this latter phase of the study, only one monkey scratched the red dye on the chest once. The results are consistent with other findings suggesting that monkeys are not capable of passing a mark test and imply that face and body recognition rely on the same cognitive abilities.