Dual-Process Theory as a Theory of the Classification of Information Processing Acts

The article proposes a consideration of the dual-process theory of higher cognition as a theory of the classification of acts of information processing. One of the reasons why the dual-process approach has been criticized is the fact that the information processing process can sometimes have characteristics that undermine a clear-cut attribution to one of the two traditionally defined opposite types. To avoid this criticism, it is proposed that the object of classification should not be the processes of information processing, but separate acts of combining two units of information. Unlike a process, a particular act of information processing at a particular moment in time cannot simultaneously have opposite characteristics, nor can it simultaneously have and not have some characteristic. In order to show the qualitative difference between various information processing acts as falling individually into either Type 1 or Type 2 processing, it is proposed to classify them by a feature that is present in one type and absent in another. It is suggested to take conscious control as such a feature. As a result, in the information processing acts corresponding to Type 2 category, units of information are combined in a consciously controlled way, whereas in the acts to be considered as Type 1, those units either already are combined or combine autonomously due to the existence of indirect associative connections.

The Mind Is a DJ: Rhythmic Entrainment in Beatmatching and Embodied Temporal Processing

In music, rhythmic entrainment occurs when the attention and body movements of listeners, dancers and musicians become synchronized with the beat. This synchronization occurs due to the mechanisms of phase and period correction. Here, I describe what happens to these mechanisms during beatmatching—a central skill in DJing that involves synchronizing the beats of two records on a set of turntables. Via the enactivist approach to the embodied mind, I argue that beatmatching affords a different form of entrainment that requires more conscious control of and embodied operationalization of temporal error correction, and thus provides a vivid model of the embodied distribution of rhythmic entrainment.

Finding the Drastic: Exploring Forms of Attention in Piano Performance

<p>While Carolyn Abbate’s essay “Music – Drastic or Gnostic” sets provocative parameters for considering performance, she also makes a bold stand on the mutual exclusivity of the knowing or gnostic mind and active or drastic body in performance. Abbate suggests that when one is involved in the real-time experience of music (i.e. performance) there is no room for thought because conceptual awareness interrupts the real-time experience. Thus, drastic precludes gnostic. Yet many performers speak about the need to negotiate a balance between mind and body in performance. This implies that an imbalance can occur in either direction, that over-thinking the execution is not conducive to flow but that the ultimate experience of the music ‘playing itself’ may also incur an undesirable sense of not being in conscious control. This paper aims to explore the limits of a gnostic approach and the parameters for a drastic performance. My own experience has demonstrated the ways in which too much conscious control - or rather, too much conscious attention on certain tactile aspects of playing - can end up hampering the physical execution. Indeed, Science Daily has summarised recent research in the Journal of Neuroscience that confirms scientifically that over-thinking can be detrimental to performance. Implicit memory (unconscious and expressed by means other than words) and explicit memory (which is conscious and can be described in words) each operate from different parts of the brain; and the implication is that physical performance in most cases requires the deployment of implicit as well as explicit memory. For a pianist, in other words, on the one hand the ‘action’ must become instinctive at some point because one’s attention cannot focus simultaneously on the fingers prior to every sound and on the sound itself. On the other hand, it is also not desirable simply to deliver the action to some level of drastic, or pure ‘doing’ (as the ancient meaning of the word suggests), even to a meta-drastic point where the music ‘plays itself’. Thus it would seem that Abate’s stipulation gnostic or drastic requires further reflection. Through my critical analysis of this discussion, I would like finally to be able to redress the balance between a gnostic and drastic approach in my own performance. Resituating the mind-body balance itself requires a shift in consciousness: a shift that effectively distracts me from overt tactile awareness and places my foreground attention to sound. This shift, ironically, requires an immense conscious effort: in other words, my shift towards the drastic is launched by the gnostic. Through documenting the process of my own journey from gnostic/explicit performance to drastic/implicit performance, I will propose that a specific balanced blend is ideal: that is, I need to move from a cognitive or conscious process that focuses on physical aspects of performance, in order to bring an unfettered consciousness of sound to the foreground attention. If I can suppress my conscious attention to the kinetics of playing the piano and this very suppression permits a focus on sound itself, will that be a shutting down of one kind of excessive cognitive effort and signal a release of the drastic, or simply resituate the gnostic? For myself, finding my way to trusting a drastic approach and yet balance it with a gnostic input is imperative if I am to find music making a pleasure.</p>

Finding the Drastic: Exploring Forms of Attention in Piano Performance

<p>While Carolyn Abbate’s essay “Music – Drastic or Gnostic” sets provocative parameters for considering performance, she also makes a bold stand on the mutual exclusivity of the knowing or gnostic mind and active or drastic body in performance. Abbate suggests that when one is involved in the real-time experience of music (i.e. performance) there is no room for thought because conceptual awareness interrupts the real-time experience. Thus, drastic precludes gnostic. Yet many performers speak about the need to negotiate a balance between mind and body in performance. This implies that an imbalance can occur in either direction, that over-thinking the execution is not conducive to flow but that the ultimate experience of the music ‘playing itself’ may also incur an undesirable sense of not being in conscious control. This paper aims to explore the limits of a gnostic approach and the parameters for a drastic performance. My own experience has demonstrated the ways in which too much conscious control - or rather, too much conscious attention on certain tactile aspects of playing - can end up hampering the physical execution. Indeed, Science Daily has summarised recent research in the Journal of Neuroscience that confirms scientifically that over-thinking can be detrimental to performance. Implicit memory (unconscious and expressed by means other than words) and explicit memory (which is conscious and can be described in words) each operate from different parts of the brain; and the implication is that physical performance in most cases requires the deployment of implicit as well as explicit memory. For a pianist, in other words, on the one hand the ‘action’ must become instinctive at some point because one’s attention cannot focus simultaneously on the fingers prior to every sound and on the sound itself. On the other hand, it is also not desirable simply to deliver the action to some level of drastic, or pure ‘doing’ (as the ancient meaning of the word suggests), even to a meta-drastic point where the music ‘plays itself’. Thus it would seem that Abate’s stipulation gnostic or drastic requires further reflection. Through my critical analysis of this discussion, I would like finally to be able to redress the balance between a gnostic and drastic approach in my own performance. Resituating the mind-body balance itself requires a shift in consciousness: a shift that effectively distracts me from overt tactile awareness and places my foreground attention to sound. This shift, ironically, requires an immense conscious effort: in other words, my shift towards the drastic is launched by the gnostic. Through documenting the process of my own journey from gnostic/explicit performance to drastic/implicit performance, I will propose that a specific balanced blend is ideal: that is, I need to move from a cognitive or conscious process that focuses on physical aspects of performance, in order to bring an unfettered consciousness of sound to the foreground attention. If I can suppress my conscious attention to the kinetics of playing the piano and this very suppression permits a focus on sound itself, will that be a shutting down of one kind of excessive cognitive effort and signal a release of the drastic, or simply resituate the gnostic? For myself, finding my way to trusting a drastic approach and yet balance it with a gnostic input is imperative if I am to find music making a pleasure.</p>

THE MEDIA INFLUENCE OF TELEVISION FORMATS ON THE VIEWER’S MIND

The purpose of the article is to examine and assess the role played by television in modern society in defining the classification of entertaining television formats and the television formats influence on the recipients’ minds. The methodology of the research is based on the selection of the actual material on the suggestive properties study of television is based on the domestic and foreign scholars’ concepts, as well as on the philosophers views, sociologists, semiotics, cultural scientists, art critics, who consider television as a phenomenon of modern culture. The scientific novelty of the work lies in that the semantic properties' perception of reality on TV has got a tendency to withdraw from person’s conscious control and society, pushing the subconscious of the viewer to mythological stereotyping. Conclusions. In practice, everyone is influenced by various media. Creating the whole picture of reality with all its contradictions can bring us to a comprehensive understanding of the world in all its diversity, which will help, in our opinion, overcome the crisis on a television screen, where today a vivid visual image often covers the lack of spirituality and the screen’s aggressiveness.

Legal Nature and Features a Continuing Crime

The author singles out constituent features of a continuing crime: 1) a continuing crime, although legally completed, is happening continuously until its actual completion; 2) a continuing action has a complex two-element structure: the first element of the objective side of a continuing crime is the action or inaction of the guilty person that legally constitutes a crime, and the second element is the subsequent continuous behavior that «stretches» the objective side of the continuing crime in time; 3) a continuing crime is producing a non-stop destructive effect on the object of criminal law protection, and the long-term deformation of this object happens because of the action itself, not the consequences caused by it; 4) by committing a continuing crime, the person preserves conscious control over the action after its legal completion, regulates his behavior, controls the process of inflicting harm on the object of criminal law protection, which makes it possible to recognize the person as active (non-active) in the criminal law sense; 5) only a crime with a formal construct of corpus delicti can be continuing. The abovementioned features together could act as reliable criteria for determining the chronological boundaries of specific criminal actions, as a key to resolving theoretical disputes and law enforcement problems connected with classifying a certain action as continuing. The article stresses that the permanent character of a continuing crime cannot be explained through the prism of the theory of a continuing criminal condition. Such an interpretation of a continuing crime, common in Russian and foreign research, contradicts the established tenets of the classical theory of crime. Only an act in the form of action or inaction can be recognized as a continuing crime, but not a state, situation, or status. Based on this, the author gives a critical assessment of Art. 210.1 of the Criminal Code of the Russian Federation that provides for the liability for holding the highest position in a criminal hierarchy. The objective side of a continuing crime has the following manifestations: 1) continuing criminal inaction; 2) a crime legally completed by an action, and continuing through inaction; 3) continuing action. Based on this, the author states that the description of a continuing crime contained in the Decree of the Plenary Session of the Supreme Court of the USSR of March 4, 1929 No. 23 (edition of the Decree of the Plenary Session of March 14, 1963, No. 1) should be specified.

COGNISHIELD : A Simple Practical Technique for Instant Spontaneous Treatment of all Possible Psychological Disorders and to Drastically Enhance Cognition by Absolute Conscious Control of Mind

This research paper introduces a simple practical technique named “COGNISHIELD” by the author which when practised, results in instant spontaneous elimination/treatment of all possible psychological disorders and it also drastically enhances cognition & mental faculties of human brain. It provides absolute conscious control of mind.

“No Way Out Except From External Intervention”: First-Hand Accounts of Autistic Inertia

This study, called for by autistic people and led by an autistic researcher, is the first to explore ‘autistic inertia,’ a widespread and often debilitating difficulty acting on their intentions. Previous research has considered initiation only in the context of social interaction or experimental conditions. This study is unique in considering difficulty initiating tasks of any type in real life settings, and by gathering qualitative data directly from autistic people. Four face-to-face and 2 online (text) focus groups were conducted with 32 autistic adults (19 female, 8 male, and 5 other), aged 23–64 who were able to express their internal experiences in words. They articulate in detail the actions they have difficulty with, what makes it easier or harder to act, and the impact on their lives. Thematic analysis of the transcripts found four overarching themes: descriptions of inertia, scaffolding to support action, the influence of wellbeing, and the impact on day-to-day activities. Participants described difficulty starting, stopping and changing activities that was not within their conscious control. While difficulty with planning was common, a subset of participants described a profound impairment in initiating even simple actions more suggestive of a movement disorder. Prompting and compatible activity in the environment promoted action, while mental health difficulties and stress exacerbated difficulties. Inertia had pervasive effects on participants’ day-to-day activities and wellbeing. This overdue research opens the door to many areas of further investigation to better understand autistic inertia and effective support strategies.

Risks, urological complications and possible ways to overcome the COVID neuroinfection (clinical lecture)

In patients with coronavirus infection, the nervous system involvement is very diverse. It undeniably directly affects the function of genitourinary system and other body systems. This can be most prominently manifested in urination, the complex and complicated process of bladder emptying. These symptoms are well-known and can be identified from the very first minutes of doctor-patient communication under the condition of knowledge about the symptoms and willingness for focused identification. Conscious control of urination requires complex interactions between the autonomic (sympathetic and parasympathetic) and the somatic nervous system. Medical history is important for diagnosis. On the one hand, the information obtained is twice as subjective, being the physician’s subjective assessment of the patient’s subjective perceptions. However, one should not forget about the need for individual approach to diagnosis taking into account each patient’s characteristics. Drug therapy should be accomplished only through the joint effort of urologist and neurologist during both therapy and rehabilitation.

It's not what it looks like!

The notion of extra pair mating interests is seen as controversial in Western societies where monogamy is the dominant mating system. Attending to attractive others is often seen as an indicator of, or antecedent to engaging in infidelity. However, we argue that attending to attractive others is an adaptive and automatic process because it informs and maintains plasticity in mating strategies. Previous research has examined later attentional processes in relation to potential mates, but not early attentional capture which is beyond conscious control. Participants indicated whether they were predominantly attracted to male or female faces, then completed two flicker tasks, each consisting of faces of the gender the participants indicated they were most attracted to; one consisted of a grid of attractive faces and the other consisted of unattractive faces. Time taken to detect changes to the attractive or unattractive faces was measured as an indication of attentional bias towards potential mates. Sociosexual desires and self reported romantic interests outside of the primary relationship predicted a quicker response time to attractive faces relative to unattractive faces. Relationship status, sex of the participant, sociosexual attitudes, sociosexual behaviours, and self reported sexual interests outside of the primary relationship did not predict response time on the flicker tasks. The results suggest early attentional processes are biased towards potential mates in a given environment which calibrates and maintains plasticity in mating strategies, however this does not necessarily indicate an inclination towards infidelity.