Archive Electronique - Institut Jean Nicod
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The collective disorientation of the COVID-19 crisis
No full textInternational audienceOne of the chief features of this global crisis is that we find ourselves in a shifting landscape. The resulting disorientation extends beyond health research and into many domains of our individual and collective lives. We suffer from political disorientation (the need for a radical shift in economic thinking), from social disorientation (the rearrangement of social dynamics based on distancing measures), and from temporal disorientation (the warping of our sense of time during lockdown), to name but a few. This generalised state of disorientation has substantial effects on wellbeing and decision making. In this paper, we review the multiple dimensions of disorientation of the COVID-19 crisis and use state-of-the art research on disorientation to gain insight into the social, psychological and political dynamics of the current pandemic. Just like standard, spatial cases of disorientation, the non-spatial forms of disorientation prevalent in the current crisis consist in the mismatch between our frames of reference and our immediate experience, and they result in anxiety, helplessness and isolation, but also in the possibility of re-orienting. The current crisis provides a unique environment in which to study non-spatial forms of disorientation. In turn, existing knowledge about spatial disorientation can shed light on the shifting landscape of the COVID-19 pandemic
Pourquoi nous devons viser l'universalisme ?: Brèves remarques sur le rapport de la pensée avec le langage et sur la question de la dimension culturelle des langues
No full textActes du colloque international organisé par le ministère de la Culture. Institut de France, 15 novembre 2019.International audienc
Making and Breaking Our Shared World: A Phenomenological Analysis of Disorientation as a Way of Understanding Collective Emotions in Distributed Cognition
No full textInternational audienc
Que prêtons-nous aux machines ? Approches interdisciplinaires des interactions homme-robot.
No full textNational audienceNous sommes actuellement submergés par les «?révolutions?» technologiques, plus particulièrement par l'intelligence artificielle et la robotique, notions larges et souvent floues pour le grand public. Entre réussites et fantasmes, promesses et inquiétudes, ces technologies semblent destinées à bouleverser nos quotidiens, du travail jusqu’à l’intime. Cet ouvrage prend le temps de croiser des regards, parfois critiques, sur ces avancées et leurs perceptions par le public
Mood variation with belief predicates: Modal comparison and the raisability of questions
No full textInternational audienceThis paper proposes that subjunctive in the complement of belief sentences in Italian expresses a relation between the attitude holder's beliefs and the common ground. In contrast to most other Romance languages, 'believe' commonly and prescriptively takes subjunctive in Italian, though indicative is found as well, and as has been observed in the literature, the choice of indicative or subjunctive has semantic effects. We show that the indicative with 'believe' is used when the belief statement describes the personal mental state of the holder of the attitude, an interpretation that follows from the traditional Hintikkean semantics. In contrast, we show that subjunctive with 'believe' is used to mark a relation between the content of belief and the discourse context. To analyze these facts, we propose that the modal quantification present in attitude reports comes not from the attitude verb, but instead from the embedded verbal mood. What differentiates Italian from related languages where 'believe' only takes indicative, is that Italian allows the subjunctive to access the common ground as a modal base, utilizing the verb's doxastic background as an ordering source. The fact that subjunctive relates the common ground to the subject's beliefs explains the discourse oriented meaning of this combination. We extend our analysis to several other predicates that show mood variation in Italian
Profiling the musical sublime
No full textInternational audienceThe experience of the sublime is often characterized by an intense, complex, and mixed (i.e., presenting both negative and positive aspects) affective state. It seems to involve specific features such as an immersive experience and a diminished sense of the self (Arcangeli et al. 2019). From this, we hypothesized that music is an interesting and good elicitor of sublimity experiences. In this study we investigated the affective and cognitive features of the sublimity experience that characterizes and differentiates it from experiences of beauty in musical contexts. A self-report questionnaire assessing the aesthetic experience through 50 items was administered to a large sample of French adults (N = 277) in order to describe a musical experience corresponding either to an experience of the sublime or to an aesthetic experience related to the beauty. Using an exploratory factor analysis, we defined eight specific dimensions along which an aesthetic musical experience can be characterized. Interestingly, we observed that the musical experiences of sublimity and beauty differed on some dimensions. Thus, the results indicated that, compared to the experience of beauty, the experience of the sublime generated i/ a higher presence of negative affect (associated to positive affect), ii/ a higher feeling of grandeur, iii/ a higher experience of self-expansion, probably due to the blurred distinction between the self and the world, iv/ a higher experience of self-retraction associated to a diminished sense of self, and finally iv/ a higher feeling of being moved. These findings suggest that the experience of the sublime elicited by music is characterized by a special form of experiential immersion in which the distinction between the self and the world tends to disappear, and a diminished sense of the self
Graphic complexity in writing systems
No full textInternational audienceA writing system is a graphic code, i.e., a system of standardized pairings between symbols and meanings in which symbols take the form of images that can endure. The visual character of writing implies that written characters have to fit constraints of the human visual system. One aspect of this optimization lays in the graphic complexity of the characters used by scripts. Scripts are sets of graphic characters used for the written form of one language or more. Using computational methods over a large and diverse dataset (over 47,000 characters, from over 133 scripts), we answer three central questions about the visual complexity of written characters and the evolution of writing: (1) What determines character complexity? (2) Can we find traces of evolutionary change in character complexity? (3) Is complexity distributed in a way that makes character recognition easier? Our study suggests that (1) character complexity depends primarily on which linguistic unit the characters encode, and that (2) there is little evidence of evolutionary change in character complexity. Additionally (3) for an individual character, the half which is encountered first while reading tends to be more complex than that which is encountered last
