Digital phenotyping for psychiatry: Accommodating data and theory with network science methodologies

2018 ◽  
Author(s):  
David M. Lydon-Staley ◽  
Ian Barnett ◽  
Theodore D. Satterthwaite ◽  
Danielle S Bassett

Digital phenotyping is the moment-by-moment quantification of our interactions with digital devices. With appropriate tools, digital phenotyping data afford unprecedented insight into our transactions with the world and hold promise for developing novel signatures of psychopathology that will aid in diagnosis, prognosis, and treatment selection of psychiatric disorders. In this review, we highlight empirical work merging digital phenotyping data, and particularly experience-sampling data collected via smartphone, with network theories of psychopathology and network science methodologies. The intensive, longitudinal, and multivariate data collected through digital phenotyping designs provide the necessary foundation for the application of network science methodologies to parsimoniously test network theories of psychopathology emphasizing causal interactions among psychiatric symptoms, as well as other phenotypes, across time

Discourse ◽  
2021 ◽  
Vol 7 (3) ◽  
pp. 5-19
Author(s):  
K. A. Ocheretyany

Introduction. The article deals with finding environmental patterns for the digital environment – at the moment, digital environments are more likely to bring a person closer to machine and technical requirements. The article poses a question (and a detailed answer is given) about how and under what conditions technology does not absorb a person, but gives her the opportunity to reveal her potential, turning it into existential capital.Methodology and sources. Methodologically, the work is based on philosophical analytical research and precedents of the digital field, examples of research literature, methods of media philosophy, anarchic epistemology, and topological reflection are applied. In particular, the hypotheses of the digital space as simultaneously communicative and disciplinary (Habermas, Foucault) digital behaviorism by B. Fogg, the economics of forgiveness by D. Graeber, the anthropology of the game by R. Caillois, Internet animals by A. Pscher were analyzed: on their basis, the principles of digital ethology and ecology.Results and discussion. The task of converting interfaces into ecological and pharmacological environments is the task of organizing by means of interfaces of various types of agencies. They should be organized in such a way that the modes of energy consumption and operation are replaced by modes of energy saving and care. In this case, the interfaces of digital devices could be not a continuation of the technical bureaucracy, but the conditions for comprehending and collecting the experience of the world. The project for this reorganization of funds – from exploitation to pharmacology – was proposed in the article. The article shows that the interface of digital devices can be not only a tool (techne) or a form of vision and cognition of the world (episteme), but also an ecological life-saving environment (pharmacy) for this it is necessary to take into account a number of factors: 1) counter-standardization and counter-personalization of the interface – it must to collide not with oneself, but with another, in all the radicalism of one’s otherness; 2) the ability to move from meaning to presence, and focus not on the consumption of ideological texts as standardized scenarios, but on the creation of contexts of existential interaction; 3) rejection of the agonality of digital consumption (which leads to emotional burnout) in favor of recognizing the uniqueness and incommensurability of experience, and, accordingly, creating conditions for mutual recognition and mutual trust, which are the main capital of a modern person in an era of semantic impenetrability in digital, the growth of suspicion and cynicism.Conclusion. The interface turns from a disciplinary space into a field of care when it becomes possible by means of the interface to go beyond itself, when it grants the right to postponement, to inattention, to offline, when instead of a tool of intensifying life, it becomes a condition for its deeper living. To do this, one should turn from techniques of drawing attention in the interface to techniques of organizing and interpreting the experience of the world.


Author(s):  
Abraham D. Stone

I remember distinctly the moment I learned that David Lewis had died. It was during my years as a postdoctoral fellow, when I was more than a little isolated, and so it turned out to have been some time—months, maybe—since the event. I recall thinking: the world in which I thought I was living, during those months, turned out not to be the actual world, and so I turned out not to be the person I thought I was, but merely a counterpart of that person. And thus arose the half-formed thought (still only half-formed now, alas) that therein lay some insight into what is actually at stake in the conflict between counterpart theory and transworld identity.


2020 ◽  
Vol 44 (3) ◽  
pp. 121-123 ◽  
Author(s):  
George Gillett

SummaryDigital phenotyping (such as using live data from personal digital devices on sleep, activity and social media interactions) to monitor and interpret people's current mental state is a newly emerging development in psychiatry. This article offers an imaginary insight into its future potential for both psychiatrist and patient.


Author(s):  
Peter Chierike Ikegbunam ◽  
Fabian Ikechukwu Agudosy

The relationship between online and mainstream journalism, over the years, has been critically reviewed negatively by practising journalists. Among the mainstream practising journalists, online and citizen journalism are peddlers of uncensored and junk contents. This study, though a review of reported events, looked at the relationship between mainstream and online contents. The purpose of the study is to verify whether the mainstream media mortify or certify online journalism. This study adopted the critical discourse analysis in reviewing what was reported in both mainstream and online media. The study, which made a case for the credibility transfer hypothesis, revealed that rather than spread junk contents, the online press helps the mainstream media in explaining to the world what is happening around them. Drawing from the outcome of the study, it was found that the online media and citizen journalists break the news while the mainstream media follow suit with few additional contents that give more insight into the stories of the moment. The study concluded that rather than mortify the contents of online media, the mainstream media transfer credibility to it by drawing their publications from the online materials. The study, therefore dismissed allegations from mainstream journalists against online and citizen journalists that they spread junks. It was recommended that the mainstream media journalists and media experts should desist from making some derogatory remarks about online media contents but rather, incorporate online and citizen journalisms’ contents in their mainstream reports for adequate and on-the-event coverage of issues


Author(s):  
Nanette Nielsen1

Music studies and philosophy have over the past few years seen increasing interaction: music scholars have found inspiration in philosophical topics and methods, and philosophers have engaged enthusiastically with the world of music, for example by using the art form to gain new insight into topics such as emotion, consciousness, and ethics. This scholarly interaction continually presents new and exciting interdisciplinary avenues through which both music studies and philosophy can develop and grow. While drawing on a selection of recent literature and approaches, this article accounts for (what I call) ’musical ethics’ and discusses what music might bring to scholarly discourse about ethics. Instead of viewing music as a philosophical ‘problem’ that needs to be solved, I suggest that a more fruitful strategy is to approach music and musical engagement as a philosophical opportunity through which we can better understand ourselves and the world around us. With a focus on examples of film music, I argue that musical ethics can uncover important facets of what it means to be both human and humane.


Author(s):  
W. L. Steffens ◽  
Nancy B. Roberts ◽  
J. M. Bowen

The canine heartworm is a common and serious nematode parasite of domestic dogs in many parts of the world. Although nematode neuroanatomy is fairly well documented, the emphasis has been on sensory anatomy and primarily in free-living soil species and ascarids. Lee and Miller reported on the muscular anatomy in the heartworm, but provided little insight into the peripheral nervous system or myoneural relationships. The classical fine-structural description of nematode muscle innervation is Rosenbluth's earlier work in Ascaris. Since the pharmacological effects of some nematacides currently being developed are neuromuscular in nature, a better understanding of heartworm myoneural anatomy, particularly in reference to the synaptic region is warranted.


2017 ◽  
Vol 24 (1) ◽  
pp. 46-72
Author(s):  
Jacob Tootalian

Ben Jonson's early plays show a marked interest in prose as a counterpoint to the blank verse norm of the Renaissance stage. This essay presents a digital analysis of Jonson's early mixed-mode plays and his two later full-prose comedies. It examines this selection of the Jonsonian corpus using DocuScope, a piece of software that catalogs sentence-level features of texts according to a series of rhetorical categories, highlighting the distinctive linguistic patterns associated with Jonson's verse and prose. Verse tends to employ abstract, morally and emotionally charged language, while prose is more often characterized by expressions that are socially explicit, interrogative, and interactive. In the satirical economy of these plays, Jonson's characters usually adopt verse when they articulate censorious judgements, descending into prose when they wade into the intractable banter of the vicious world. Surprisingly, the prosaic signature that Jonson fashioned in his earlier drama persisted in the two later full-prose comedies. The essay presents readings of Every Man Out of his Humour and Bartholomew Fair, illustrating how the tension between verse and prose that motivated the satirical dynamics of the mixed-mode plays was released in the full-prose comedies. Jonson's final experiments with theatrical prose dramatize the exhaustion of the satirical impulse by submerging his characters almost entirely in the prosaic world of interactive engagement.


2019 ◽  
Vol 58 (2) ◽  
pp. 249-259
Author(s):  
Joseph Acquisto

This essay examines a polemic between two Baudelaire critics of the 1930s, Jean Cassou and Benjamin Fondane, which centered on the relationship of poetry to progressive politics and metaphysics. I argue that a return to Baudelaire's poetry can yield insight into what seems like an impasse in Cassou and Fondane. Baudelaire provides the possibility of realigning metaphysics and politics so that poetry has the potential to become the space in which we can begin to think the two of them together, as opposed to seeing them in unresolvable tension. Or rather, the tension that Baudelaire animates between the two allows us a new way of thinking about the role of esthetics in moments of political crisis. We can in some ways see Baudelaire as responding, avant la lettre, to two of his early twentieth-century readers who correctly perceived his work as the space that breathes a new urgency into the questions of how modern poetry relates to the world from which it springs and in which it intervenes.


2007 ◽  
Vol 4 ◽  
pp. 21-37
Author(s):  
Kristupas Sabolius

Kitybės klausimas dažniausiai kyla iš ego santykio su kitais arba su pasauliu. Šiame straipsnyje daroma prielaida, kad įsivaizdavimo funkcija ištirpdo subjektą ir jame pačiame atveria intersubjektyvią perspektyvą. Šiuo tikslu sugretinami Sartre’o, Husserlio bei Merleau-Ponty įsivaizdavimo funkcijos tyrimai, kuriuose išryškėja vaizdo kaip iš ego centro išslystančios ribos statusas, ir Holivudo filmo „Kovos klubas“ siužetas. Viename iš šios juostos epizodų pasirodantis pingvinas žymi egologinės schizmos akimirką ir tampa fantazijos apsireiškimu ir įsikūnijimu.Išgryninus žaidybinį, savarankišką ir multiformišką charakterį, galime konstantuoti, kad įsivaizdavimas, jei kalbėtume Kanto terminais, yra ne papildanti tarpinė funkcija, bet transcendentalinio subjekto genezėje atlieka paradoksalų „svetimos vidujybės“ arba „vidinės svetimybės“ vaidmenį. Vaizduotė yra katalizatoriaus, kuris, likdamas šalia, įgalina transcendentalinių formų išsikristalizavimą.Pagrindiniai žodžiai: vaizduotė, įsivaizdavimas, fantazija, ego, kitybė, sąmonė.PENGUIN AND PROTEUSImagination as Otherness in meKristupas Sabolius SummaryThe question of Otherness is usually taken into account while discussing the Ego’s relation with Others as well as with the World. This article is based on the premises that the function of phantasy melts the subjectivity, revealing the perspective of intersubjectivity within it. On this purpose Sartre’s, Husserl’s and Merleau-Ponty’s researches on the function of imagination, which elucidate the image as the boundary slipping from the centre of Ego, are compared to the story of Hollywood’ movie „Fight Club“. The penguin, which appears in one of the episodes, registers the moment of egological schism, thus becoming the revelation and incarnation of phantasy. While the playful, autonomous and multiform character of imaginary is cleared out, we can ascertain, speaking in Kantian terms, that it has not a complementary or intermediary function, but, in the genesis of transcendental subject, plays the paradoxical role of „allien innerness“ or „inner alienity“. Thought remaining always beside, imagination is a catalyzer which enables crystallization of transcendental forms.Keywords: imagination, imaginary, phantasy, ego, otherness, consciousness.


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