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I have always been quite partial to fashion. I think of it as an expression of one's thoughts, ideas and personality. Perhaps this is why I have in the past been so attracted to accounts of cognition that like to call them selves “embodied” or “embedded” (Note that these terms ought not be mistaken to mean the same thing. I present them in a relation here merely because they are branches of a similar tree of thought). The central claim inherent in all of these views is that one ought to recognize the role of the body and the environment in human cognition. Indeed, despite their technical differences, all three of these views hold that the brain, body and world are “coupled”. Brain, body and world are tied together in a dynamical loop within which some sort of special relationship holds. This has seemed to me as intuitively correct. Why?
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I have always been quite partial to fashion. I think of it as an expression of one's thoughts, ideas and personality. Perhaps this is why I have in the past been so attracted to accounts of cognition that like to call them selves “embodied” or “embedded” (Note that these terms ought not be mistaken to mean the same thing. I present them in a relation here merely because they are branches of a similar tree of thought). The central claim inherent in all of these views is that one ought to recognize the role of the body and the environment in human cognition. Indeed, despite their technical differences, all three of these views hold that the brain, body and world are “coupled”. Brain, body and world are tied together in a dynamical loop within which some sort of special relationship holds. This has seemed to me as intuitively correct. Why? [...]
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In this article I take an unusual starting point from which to argue for a unified cognitive science, namely a position defined by what is sometimes called the ‘life-mind continuity thesis’. Accordingly, rather than taking a widely accepted starting point for granted and using it in order to propose answers to some well defined questions, I must first establish that the idea of life-mind continuity can amount to a proper starting point at all. To begin with, I therefore assess the conceptual tools which are available to construct a theory of mind on this basis. By drawing on insights from a variety of disciplines, especially from a combination of existential phenomenology and organism- centered biology, I argue that mind can indeed be conceived as rooted in life, but only if we accept at the same time that social interaction plays a constitutive role for our cognitive capacities.
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The main aim of the following short piece is to introduce the research field of embodied music cognition.1 Firstly, we point out the traditional model of music cognition, indicating its basic problems. Secondly, we present the embodied model, which offers a promising research alternative to the traditional model. These introductory remarks are set to serve as a background for the following interview with Dr. Joel Krueger (Krueger 2011c), whom we would like to cordially thank for his kind cooperation, time and support.
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In the article, I propose that the body phantom is a phenomenal and functional model of one’s own body. This model has two aspects. On the one hand, it functions as a tacit sensory representation of the body that is at the same time related to the motor aspects of body functioning. On the other hand, it also has a phenomenal aspect as it constitutes the content of conscious bodily experience. This sort of tacit, functional and sensory model is related to the spatial parameters of the physical body. In the article, I postulate that this functional model or map is of crucial importance to the felt ownership parameters of the body (de Vignemont 2007), which are themselves considered as constituting the phenomenal aspect of the aforementioned model.
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A significant impediment to the study of perceptual consciousness is our dependence on simplistic ideas about what experience is like. This is a point that has been made by Wittgenstein, and by philosophers working in the Phenomenological Tradition, such as Husserl and Merleau-Ponty. Importantly, it is an observation that has been brought to the fore in recent discussions of consciousness among philosophers and cognitive scientists who have come to feel the need for a more rigorous phenomenology of experience. The central thought of this paper is that art can make a needed contribution to the study of perceptual consciousness. The work of some artists can teach us about perceptual consciousness by furnishing us with the opportunity to have a special kind of reflective experience. In this way, art can be a tool for phenomenological investigation. The paper has three parts. First, I present what I call the problem of the transparency of experience. This is a problem for philosophy, for art, and for cognitive science. Second, I present an alternative conception of experience as a mode of interactive engagement with the environment. Finally, against the background of this conception, I discuss, briefly, the work of the sculptors Richard Serra and Tony Smith.
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The main aim of the following short piece is to introduce the research field of embodied music cognition.1 Firstly, we point out the traditional model of music cognition, indicating its basic problems. Secondly, we present the embodied model, which offers a promising research alternative to the traditional model. These introductory remarks are set to serve as a background for the following interview with Dr. Joel Krueger (Krueger 2011c), whom we would like to cordially thank for his kind cooperation, time and support.
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Objects – even tomatoes – are, in a sense, timeless – they exist, all at once, whole and integrated. Indeed, it is just this fact about objects – their timelessness – that makes it puzzling how we can experience them as we do. In the language of traditional philosophy, objects are transcendent; they outstrip our experience; they have hidden parts, always. When you perceive an object, you never take it in from all sides at once. And yet you have a sense of the presence of the object as a whole at a moment in time.
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Book Review: Moral Machines. Teaching Robots Right from Wrong Authors: Wendell Wallach, Colin Allen Publisher: Oxford University Press Release date: 2008 Number of pages: 288
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The author of the present paper analyzes the ethnographic accomplishments of the linguist Samuel Cambel, its meaning and influence on further development and orientation of folkloristic field reserch. Evaluating the views of individual folklorists and linguists in regard to the work of Samuel Cambel as collector, the author tries to classify Cambel's folkloristic collection within the scope of the Slovak folkloristic research.
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The synthesis the hitherto gained knowledge that have been collected within the VEGA projects No. 2-4080-97 (1997 -1999) and No. 2-7031-20 (2000 - 2002) is the intention of the submitted Project. The main aim to achieve is to create a picture of the way of living and traditional culture of Slovak minorities based on scientifically gained and processed data to testify at the same time bonds with cultural tradition of Slovakia. Its should also witness about that what become part of their cultural heritage and ethnic identity.
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The author discusses the Slavistic aspect of Ľ. Štúr's work Nárečja slovenskuo alebo potreba písaňja v tomto nárečí and underlines the current relevance of Ľ. Štúr's ideas on development of the Slávie languages and their interrelations
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The paper deals with the question of mutual cultural relationships between the Slovak Republic and the Independent State of Croatia in the period from 1941 to 1945. Slovaks as well as Croatians were part of multi-ethnic states after the First World War. During the inter-war years, both nations struggled for their emancipation. However, immidiately after their independent states had become reality, both aligned themselves with the Rome-Berlin-Tokyo Axis and concluded such treaties as to restrict their sover¬eignty. The author provides an insight into the process of developing Slovak-Craotian cultural cooperation influenced by the then political situation.
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