Bodily Responses Research Articles

Comment: The Emotional Basis of Toxic Affect.

I focus on some differences between negative emotional states and how they are coped with in explaining different cardiac risks. The different cognitive, motivational, and physiological characteristics of emotions imply different appraisals of the negative event, and different resources to cope with the event. Cardiovascular activity depends on these different appraisals and coping strategies. For example, cortisol levels have shown to be differently associated with anger and fear responses to social stress. In addition, different ways to regulate one’s emotions are also associated with different bodily responses that may increase or decrease cardiac risks. Future research should not only examine different emotions to stressors, but also more long-term regulation strategies and coping resources, such as self-esteem.

Exploring biased attention towards body-related stimuli and its relationship with body awareness

Stimuli of great social relevance exogenously capture attention. Here we explored the impact of body-related stimuli on endogenous attention. Additionally, we investigate the influence of internal states on biased attention towards this class of stimuli. Participants were presented with a body, face, or chair cue to hold in memory (Memory task) or to merely attend (Priming task) and, subsequently, they were asked to find a circle in an unrelated visual search task. In the valid condition, the circle was flanked by the cue. In the invalid condition, the pre-cued picture re-appeared flanking the distracter. In the neutral condition, the cue item did not re-appear in the search display. We found that although bodies and faces benefited from a general faster visual processing compared to chairs, holding them in memory did not produce any additional advantage on attention compared to when they are merely attended. Furthermore, face cues generated larger orienting effect compared to body and chairs cues in both Memory and Priming task. Importantly, results showed that individual sensitivity to internal bodily responses predicted the magnitude of the memory-based orienting of attention to bodies, shedding new light on the relationship between body awareness and visuo-spatial attention.

Bricolage, poetics, spacing

Contemporary concern for bricolage both transcends and supersedes de Certeau’s important intervention that resituated the term as actions undertaken in everyday life. In particular, he engaged the notion of bricolage in ways that presented tactics, evasions, resistances, ruses and even tricks in his consideration of everyday life as practiced. Whilst these considerations may be read, as indeed he asserted, as ‘making do’, there are further possibilities of this term. For example, bricolage may be considered to ‘occur’. In this we may take the anthropologist Hallam and Ingold’s grasp of creativity as something in our bodily and mental response to situations, calm, anxious and otherwise; responding to the detail of a situation, a required or desired action.

Stress in Gastrointestinal Tract and Stable Gastric Pentadecapeptide BPC 157. Finally, do we have a Solution?

Selye's syndrome produced by diverse nocuous agents and "response to damage as such" means Selye's stress triad in stress coping response to reestablish homeostasis. Logically, from the gastrointestinal tract viewpoint, such organoprotective/healing response implies the angiogenic growth factors that commonly signify the healing. Thereby, the gastric pentadecapeptide BPC 157-organoprotection (huge range of beneficial effects) signifies the Selye's stress concept/stress coping response implemented in and from gastrointestinal tract, and BPC 157 as an integrative mediator that integrates the adaptive bodily response to stress. In clinical trials without side effects, LD1 not achieved, BPC 157 healing in gastrointestinal tract, and particularly the healing of the extragastrointestinal tissues (i.e., skin/tendon/ligament/muscle/bone; nerve; cornea/ brain) were referred throughout its integrative capabilities (i.e., ulcerative colitis/multiple sclerosis model equally counteracted), native in gastrointestinal tract, stability in human gastric juice (and thereby, strong efficacy and applicability), its relevance for dopamine-system function (and thereby, counteracting effects of dopamine-system dysfunction and overfunction, centrally and peripherally (mucosa maintenance); interaction with serotonin- and GABA-system)), afforded cytoprotection/adaptive cytoprotection/organoprotection (and thereby, beneficial effects on gastric and whole intestinal tract lesions and adaptation, wounds and fistulas healing, blood vessels, somatosensory neurons, NSAIDs-side effects (including also pancreas, liver, brain lesions, and blood disturbances, prolonged bleeding, thrombocytopenia, thrombosis)). Further, we combine such gut-brain axis and the NO-system where BPC 157 counteracts complications of either L-NAME application (i.e., various lesions aggravation, hypertension) or Larginine application (i.e., hypotension, prolonged bleeding, thrombocytopenia). Also, BPC 157 particularly affects genes functions (i.e., Fos, c-Jun, Egr-1), all together suggestive for an indicative generalization. Thus, we could suggest gastric pentadecapeptide BPC 157 and BPC 157 induced-organoprotection as integrative mediator that integrates the adaptive bodily response to stress, and thereby practically applied in further therapy and in effective realization of Selye's stress response.

"Stress" is 80 Years Old: From Hans Selye Original Paper in 1936 to Recent Advances in GI Ulceration.

The first scientific publication on 'general adaption syndrome', or as we know today 'biologic stress' has been published in Nature in 1936 by the 29-year old Hans Selye. His results in that short publication that contained no references or illustrations, were based on experiments in rats that were exposed to severe insults/ stressors, but his idea about a 'nonspecific bodily response' originated from his observations of sick patients whom he had seen as a medical student and young clinician. Autopsy of stressed rats revealed three major, grossly visible changes: hyperemia and enlargement of the adrenals, atrophy of the thymus and lymph nodes as well as hemorrhagic gastric erosions/ulcers (the "stress triad"). Based on this and additional observations, he concluded that the key master organ in stress reactions is the adrenal cortex (although he also accepted the limited and short lasting effect of catecholamines released from the adrenal medulla) which stimulated by an increased secretion of ACTH, secreted by the anterior pituitary gland. He thus identified the first molecular mediators of the stress reaction, i.e., steroids released from the adrenal cortex that we call today glucocorticoids, based on his classification and naming of steroids. At the end of a very productive life in experimental medicine, Selye recognized that under both unpleasant and demanding stressors as well as positive, rewarding stimuli adrenal cortex releases the same glucocorticoids and only certain brain structures may distinguish the stimuli under distress and eustress - terms he introduced in 1974, that also contained his last definition of stress: the nonspecific response of the body on any demand on it. After brief description of the history of stress research, the rest of this review is focused on one element of stress triad, i.e., gastroduodenal ulceration, especially its pathogenesis, prevention and treatment. Following a short description of acute gastroprotection, discovered by one of Selye's students, we discuss new molecular mediators of gastroduodenal ulceration like dopamine and new drugs that either only heal (very potently, on molar basis) or prevent and heal ulcers like sucralfate derivatives and the relatively new peptide BPC-157. We conclude that despite the extensive and multidisciplinary research on stress during the last 80 years, a lot of basic and clinical research is needed to better understand the manifestations, central and peripheral molecular regulators of stress response, especially the modes of prevention/management of distress or its transformation into eustress and the treatment of stress-related diseases.

Enacting Authenticity: Peter Nichols’s Passion Play and Søren Kierkegaard’s Either/Or in Dialogue

AbstractThis article expands and develops current reformulations of the term ‘authenticity’ by juxtaposing Peter Nichols’s dramatic presentation of (in)authentic behavior in Passion Play, Søren Kierkegaard’s writings on authenticity, and recent studies in psychology and affective neuroscience. Re-thinking Kierkegaard’s views on identity and autonomy in relation to Nichols’s presentation of the experiences of betrayal, despair, and self-governance, the article explores how innovative theatrical performance may cause spectators to physically simulate various modes of existential choice, and elucidates the constitutive role played by bodily responses in the shaping of self-understanding and interpersonal communication. While sharing aspects of Kierkegaard’s category of the ‘individual’, as a person who is fully conscious of him/her self and takes responsibility for that self’s conduct, the model of authentic self-becoming that emerges from this discussion is anchored in a balance between attunement to bodily cues, self-directed reflection, and decisive action.

Obesity and metabolic stone disease.

In this article, we aim to review the data regarding associations between obesity and nephrolithiasis to assist with workup and treatment of these intersecting disorders. As obesity has a multifactorial influence on the risk for urinary stone disease, the complicated mechanisms will be discussed to improve diagnosis and management. Obesity and metabolic syndrome interact with nephrolithiasis risk factors to produce a myriad of bodily responses that induce stone formation. For this reason, many societies recommend prompt metabolic workup to evaluate the precise causes of stone formation. Data have shown that dietary and directed medical therapies can produce an excellent therapeutic response in this patient population, although the response may be blunted compared with nonobese patients. Given the increasing number of obese and overweight patients, the urologist should be familiar with the pathophysiology, workup, and treatment of metabolic stone disease in this population, which are outlined here.

Does excessive music practicing have addiction potential?

In the past, several researchers investigating expertise developed theories to explain the disciplined and self-devoting behavior of a professional musician in terms of practice habits (Burzik, 2002, 2007; de La Motte-Haber, 1985; Hallam, Cross, & Thaut, 2009; Kemp, 2004; Kloppel & Altenmuller, 2013; Lehmann & Oerter, 2011; Mahlert, 2007; Woody & McPherson, 2012). Professional musicians commit themselves to practicing and invest great amounts of time, effort, and often money into their although the reward is mostly immaterial: A recent large sample study reveals the alarmingly poor living conditions of musicians even in economically strong and stable countries like Germany (Renz, 2016). Usually, explanations focus on motivational psychology which implies a general goal-directedness of the behavior (de La Motte-Haber, 1985; Kemp, 2004; North & Hargreaves, 2008). However, anecdotal evidence has shown that some musicians either continue to practice through practice-induced pain or experience psychosomatic disorders (like headaches, insomnia, nightmares etc.) and distress when practicing exceptionally long or when deprived of practicing. In these cases, the formerly healthy and expedient behavior of practicing can seem maladaptive or even self-injurious.A theory that has previously been put forward but has not yet been empirically examined is the idea of musical addictivity (Panksepp, 1995; Vitouch, 2005). Panksepp assumes an involvement of the opioid system for the emergence of when listening to and concludes from there that listening to emotionally arousing can be addictive through the release of opioids. On those grounds, Panksepp compares the phenomenon of music-induced chills (defining the main bodily response as a feeling of coldness) with that of drug addiction and its related withdrawal symptoms (like the so-called cold turkey). Although this comparison has major limitations, the general hypothesis might provide a new perspective on certain types of music-related behavior.In a popular context, the idea of being addictive is fairly widespread. Headlines such as Can be addictive? (Rosing, 1990), 10 Signs You Are Addicted to (2015), or even How to Overcome a Music Addiction (with Pictures) (2016) are not seldom: Indeed, the search term addicted to music gets ~392,000 results in the search engine Google. Scientific research on this topic is, however, still quite scarce. Two studies have addressed excessive loud-music listening as addictive behavior and related it to the risk of noise-induced hearing loss (Florentine, Hunter, Robinson, Ballou, & Buus, 1998; Lisiewski, 2008 [review]; Schmuziger, Patscheke, Stieglitz, & Probst, 2012); a third one approached the excessive, possibly addictive, use of mp3players in teenagers from a retail perspective (Cockrill, Sullivan, & Norbury, 2011). Although all of these studies favor the assumption of being addictive, evidence is not yet sufficient for the concept to find general acceptance among scientists. The two empirical studies on loud-music listening as addictive behavior (Florentine et al., 1998; Schmuziger et al., 2012) have been discarded as possible methodological approaches for the present study because they rely on an alcoholism questionnaire (Michigan Alcoholism Screening Test) whose applicability to the activity of listening is questionable. The third study (Cockrill et al., 2011) is a deprivation study using a diary design that did not promise to produce quantifiable results. Additionally, what is missing in all of these attempts is the consideration of practicing: Schmuziger et al. (2012) did include performance in their test by equating listening and nonprofessional playing of a instrument-which, however, is to be seen as a methodological limitation, as they are genuinely different in nature. The question whether professional musicians' practicing behavior can be addictive has not been addressed in any of these studies. …

Intensity of vocal responses to spider and snake pictures in fearful individuals

ObjectiveStrong bodily responses have repeatedly been shown in participants fearful of spiders and snakes when they see pictures of the feared animal. In this study, we investigate if these fear responses affect voice intensity, require awareness of the pictorial stimuli, and whether the responses run their course once initiated.MethodAnimal fearful participants responded to arrowhead‐shaped probes superimposed on animal pictures (snake, spider, or rabbit), presented either backwardly masked or with no masking. Their task was to say ‘up’ or ‘down’ as quickly as possible depending on the orientation of the arrowhead. Arrowhead probes were presented at two different stimulus onset asynchronies (SOA), 261 or 561-ms after picture onset. In addition to vocal responses, electrocardiogram, and skin conductance (SC) were recorded.ResultsNo fear‐specific effects emerged to masked stimuli, thereby providing no support for the notion that fear responses can be triggered by stimuli presented outside awareness. For the unmasked pictures, voice intensity was stronger and SC response amplitude was larger to probes superimposed on the feared animal than other animals, at both SOAs. Heart rate changes were greater during exposure to feared animals when probed at 561-ms, but not at 261-ms, which indicates that a fear response can change its course after initiation.ConclusionExposure to pictures of the feared animal increased voice intensity. No support was found for responses without awareness. Observed effects on heart rate may be due to change in parasympathetic activation during fear response.

Bodily Reactions to Emotional Words Referring to Own versus Other People's Emotions.

According to embodiment theories, language and emotion affect each other. In line with this, several previous studies investigated changes in bodily responses including facial expressions, heart rate or skin conductance during affective evaluation of emotional words and sentences. This study investigates the embodiment of emotional word processing from a social perspective by experimentally manipulating the emotional valence of a word and its personal reference. Stimuli consisted of pronoun-noun pairs, i.e., positive, negative, and neutral nouns paired with possessive pronouns of the first or the third person (“my,” “his”) or the non-referential negation term (“no”) as controls. Participants had to quickly evaluate the word pairs by key presses as either positive, negative, or neutral, depending on the subjective feelings they elicit. Hereafter, they elaborated the intensity of the feeling on a non-verbal scale from 1 (very unpleasant) to 9 (very pleasant). Facial expressions (M. Zygomaticus, M. Corrugator), heart rate, and, for exploratory purposes, skin conductance were recorded continuously during the spontaneous and elaborate evaluation tasks. Positive pronoun-noun phrases were responded to the quickest and judged more often as positive when they were self-related, i.e., related to the reader’s self (e.g., “my happiness,” “my joy”) than when related to the self of a virtual other (e.g., “his happiness,” “his joy”), suggesting a self-positivity bias in the emotional evaluation of word stimuli. Physiologically, evaluation of emotional, unlike neutral pronoun-noun pairs initially elicited an increase in mean heart rate irrespective of stimulus reference. Changes in facial muscle activity, M. Zygomaticus in particular, were most pronounced during spontaneous evaluation of positive other-related pronoun-noun phrases in line with theoretical assumptions that facial expressions are socially embedded even in situation where no real communication partner is present. Taken together, the present results confirm and extend the embodiment hypothesis of language by showing that bodily signals can be differently pronounced during emotional evaluation of self- and other-related emotional words.

Specyfika, funkcje i mechanizmy stanów medytacyjnych na podstawie badań neuropsychologicznych nad uważnością

Neuropsychological findings suggest that mindfulness state (meditation state) can be shown as higher state of consciousness, which differs from relaxation state (requires much more energy) and alertness (domination of parasympathetic activation). At the higher level of meditation (low demand for energy), there occur increased activation of the anterior cingulate cortex (ACC), left insula and striatum, and reduction of activation of the lateral prefrontal cortex (LPFC) and parietal cortex. Meditation plays an important role in top-down switching (early noticing of the stimulus – 100 msec. after appearance of the stimulus) and maintenance of the attention (dealing with mind wandering). Crucial mechanisms occurring during meditation states are: vertical synchronization of brain steam, limbic system and neocortex (higher attention of stimuli), bilateral hemispheric activation (deeper insight on negative emotions and unconsciousness) and domination of gamma band fluctuations (high speed of information propagation). Specificity, functions and mechanisms occurring in meditative states have a positive influence on many aspects of the humane life (bodily regulation, attuned communication, emotional balance, fear extinction, response flexibility, insight, empathy, intuition and morality).

Group behaviour and interpersonal synchronization to electronic dance music

The present study investigates how people move and relate to each other – and to the dance music – in a club-like setting created within a motion capture laboratory. Three groups of participants (29 in total) each danced to a 10-minute-long DJ mix consisting of four tracks of electronic dance music (EDM). Two of the EDM tracks had little structural development, while the two others included a typical “break routine” in the middle of the track, consisting of three distinct passages: (a) “breakdown”, (b) “build-up” and (c) “drop”. The motion capture data show similar bodily responses for all three groups in the break routines: a sudden decrease and increase in the general quantity of motion. More specifically, the participants demonstrated an improved level of interpersonal synchronization after the drop, particularly in their vertical movements. Furthermore, the participants’ activity increased and became more pronounced after the drop. This may suggest that the temporal removal and reintroduction of a clear rhythmic framework, as well as the use of intensifying sound features, have a profound effect on a group’s beat synchronization. Our results further suggest that the musical passages of EDM efficiently lead to the entrainment of a whole group, and that a break routine effectively “re-energizes” the dancing.

Clinical intuition in the nursing process and decision-making-A mixed-studies review.

To review what is characteristic of registered nurses' intuition in clinical settings, in relationships and in the nursing process. Intuition is a controversial concept and nurses believe that there are difficulties in how they should explain their nursing actions or decisions based on intuition. Much of the evidence from the body of research indicates that nurses value their intuition in a variety of clinical settings. More information on how nurses integrate intuition as a core element in daily clinical work would contribute to an improved understanding on how they go about this. Intuition deserves a place in evidence-based activities, where intuition is an important component associated with the nursing process. An integrative review strengthened with a mixed-studies review. Literature searches were conducted in the databases CINAHL, PubMed and PsycINFO, and literature published 1985-2016 were included. The findings in the studies were analysed with content analysis, and the synthesis process entailed a reasoning between the authors. After a quality assessment, 16 studies were included. The analysis and synthesis resulted in three categories. The characteristics of intuition in the nurse's daily clinical activities include application, assertiveness and experiences; in the relationships with patients' intuition include unique connections, mental and bodily responses, and personal qualities; and in the nursing process include support and guidance, component and clues in decision-making, and validating decisions. Intuition is more than simply a "gut feeling," and it is a process based on knowledge and care experience and has a place beside research-based evidence. Nurses integrate both analysis and synthesis of intuition alongside objective data when making decisions. They should rely on their intuition and use this knowledge in clinical practice as a support in decision-making, which increases the quality and safety of patient care. We find that intuition plays a key role in more or less all of the steps in the nursing process as a base for decision-making that supports safe patient care, and is a validated component of nursing clinical care expertise.

Same medicine, different reasons: Comparing women's bodily experiences of producing eggs for pregnancy or for profit

Women doing in vitro fertilization (IVF) to have a child describe it as painful and emotionally draining. Egg donors undergo the same medical regimen for a different reason – to produce eggs for another woman in exchange for thousands of dollars – and describe it as quick and relatively painless. Medical researchers typically compare bodily responses by variables such as gender, age, and health status. We use the case of “egg production” to propose a new factor that may be an important source of variation in bodily experience: an individual's reason for undergoing the medical intervention in the first place. Using cluster analysis to analyze an original survey of 50 IVF patients and 62 egg donors from the United States, we find two distinct kinds of bodily experiences – “less intense” and “more intense” – and the intensity of one's experience is associated with one's reason for producing eggs: either to become pregnant or to donate them for money.

Erratum to: Empathy, Einfühlung, and aesthetic experience: the effect of emotion contagion on appreciation of representational and abstract art using fEMG and SCR.

Since the advent of the concept of empathy in the scientific literature, it has been hypothesized, although not necessarily empirically verified, that empathic processes are essential to aesthetic experiences of visual art. We tested how the ability to "feel into" ("Einfuhlung") emotional content-a central aspect of art empathy theories-affects the bodily responses to and the subjective judgments of representational and abstract paintings. The ability to feel into was measured by a standardized pre-survey on "emotional contagion"-the ability to pick up and mirror, or in short to "feel into", emotions, which often overlaps with higher general or interpersonal empathetic abilities. Participants evaluated the artworks on several aesthetic dimensions (liking, valence, moving, and interest), while their bodily reactions indicative of empathetic engagement (facial electromyography-EMG, and skin conductance responses-SCR) were recorded. High compared to low emotion contagion participants showed both more congruent and more intense bodily reactions (EMG and SCR) and aesthetic evaluations (higher being moved, valence, and interest) and also liked the art more. This was largely the case for both representational and abstract art, although stronger with the representational category. Our findings provide tentative evidence for recent arguments by art theorists for a close "empathic" mirroring of emotional content. We discuss this interpretation, as well as a potential tie between emotion contagion and a general increase in emotion intensity, both of which may impact, in tandem, the experience and evaluation of art.

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer.

Empathy, Einfühlung, and aesthetic experience: the effect of emotion contagion on appreciation of representational and abstract art using fEMG and SCR.

Since the advent of the concept of empathy in the scientific literature, it has been hypothesized, although not necessarily empirically verified, that empathic processes are essential to aesthetic experiences of visual art. We tested how the ability to "feel into" ("Einfühlung") emotional content-a central aspect of art empathy theories-affects the bodily responses to and the subjective judgments of representational and abstract paintings. The ability to feel into was measured by a standardized pre-survey on "emotional contagion"-the ability to pick up and mirror, or in short to "feel into", emotions, which often overlaps with higher general or interpersonal empathetic abilities. Participants evaluated the artworks on several aesthetic dimensions (liking, valence, moving, and interest), while their bodily reactions indicative of empathetic engagement (facial electromyography-EMG, and skin conductance responses-SCR) were recorded. High compared to low emotion contagion participants showed both more congruent and more intense bodily reactions (EMG and SCR) and aesthetic evaluations (higher being moved, valence, and interest) and also liked the art more. This was largely the case for both representational and abstract art, although stronger with the representational category. Our findings provide tentative evidence for recent arguments by art theorists for a close "empathic" mirroring of emotional content. We discuss this interpretation, as well as a potential tie between emotion contagion and a general increase in emotion intensity, both of which may impact, in tandem, the experience and evaluation of art.

Enacting toxicity: epidemiology and the study of air pollution for public health

This paper presents air pollution as a ‘post-human’ public health phenomenon. It draws on an ethnography of a multidisciplinary research project called Weather Health and Air Pollution to explore the material ways in which air pollution challenged scientists’ conceptualisations of harm and health. The epidemiologists on WHAP used statistical techniques to correlate data of air pollution concentrations with mortality and morbidity data collected by hospitals in order to establish a quantified measure of the health effects of exposure to air pollution. Initially, these correlations were problematic: plotted data points failed to map over temporal patterns. A series of negotiations followed. As a result of these, the concept of ‘season’ emerged as a temporal figure through which the very existence and meaning of air pollution was put to the test. Indeed, attempts by researchers to hold stable the notion of toxicity signalled the problem of trying to assess the bodily response to a polluted environment that has supposedly ‘already been’. The paper concludes by arguing how contemplating health through the lens of the material dimensions of time allows public health to: first, view health problems as constituted through bodies and environments, rather than as a relation separating the two; and second, open up indeterminacies and uncertainties as a generative condition of air pollution, and perhaps public health more generally.

Sculpting Simulacra in Medieval Germany, 1250–1380Assaf PinkusFarnham, Surrey: Ashgate, 2014.234 pp.; 14 color and 80 b/w ills.Cloth $125.00ISBN 9781472422651

Pinkus’s reading of Uta as a simulacrum rather than an imago is compelling, yet it reveals a central unanswered question of the book. Are we meant to believe that the patrons, planners, and artists conceived of the sculpture with the concept of the simulacrum in mind? Or simply, in retrospect, that the medieval concept of the simulacrum offers a way to understand how viewers may have reacted to it? In example after example, Pinkus never clarifies this crucial point, seeming to want to have it both ways; he does occasionally use the word “conscious” to describe the Naumburg figures’ creation as simulacrum, yet stops with that brief claim. As I try to hypothetically reconstruct the contemporary conversations that must have led to the sculptures’ creation and design, I simply cannot accept that, for such large, prominent sculptures in a major church, the simulacrum would have been the prevailing inspiration for their meaning and creation. If it were, what purpose would it have been intended to serve? If we accept that a figure like Uta was an empty center onto which people projected their own ideas, why would an ecclesiastical or secular patron want this? For Pinkus, the sculpture simply “results” in imaginative, engaged acts of viewing, yet the author never spends enough time unpacking what these acts of response would really have been like, or what new understandings viewers might have emerged with, relying instead on terminology: sculpted simulacra inspire viewing experiences that are “imaginative,” “engaged,” “immediate,” “somatic,” “embodied,” “voyeuristic,” et cetera. In relying on these terms, which characterize viewer response rather than truly describing it, it seems that the author has either gone too far or not far enough. If the goal were to imaginatively re-create these viewing experiences, the reader might have been served by something even more adventurous or experimental—perhaps passages describing a hypothetical individual’s reaction to particular works (somewhat along the lines of what Michael Camille did in his imaginative re-creations of Pierre Remiet’s interior life in Master of Death). As it is, the reader is too often left only with words that describe the experiences, rather than a sense of what they were really like, or what their purpose was. The intentions behind medieval works can be opaque, and evidence for them can be difficult or impossible to find, but the author might have engaged this crucial question in greater depth, even if only speculatively. Does the meaning of the viewer’s experience emerge from a conscious recognition and understanding of the sculptures as simulacra? Or from viewers’ self-identification with them? Or is any emotional, bodily response enough to create a particular meaning and resonance in and of itself? Part of the problem is that the Naumburg sculptures are presented in a vacuum, with little discussion of how the donor figures relate to other works of art in the church, or to a broader sociocultural setting in which the proposed acts of viewer response might take shape. Pinkus asserts several times in the book that he is not presenting comprehensive historical analyses of these works, and while this decision does allow him to be admirably adventurous and exploratory, it limits his ability to explore the kinds of questions described above about the possible reasons for commissioning and sculpting these simulacra.

The Double Intentionality of Emotional Experience

AbstractI argue that while the feeling of bodily responses is not necessary to emotion, these feelings contribute significant meaningful content to everyday emotional experience. Emotional bodily feelings represent a ‘state of self’, analysed as a sense of one's body affording certain patterns of interaction with the environment. Recognising that there are two sources of intentional content in everyday emotional experience allows us to reconcile the diverging intuitions that people have about emotional states, and to understand better the long‐standing debate between bodily feeling‐based and appraisal‐based theories of emotion.