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            "abstractNote": "Les ordinateurs sont des yeux, des voix, des neurones : ils regardent le réel différemment, plus largement et plus fine-ment que nous le faisons, et ils y appliquent une logique non organique et non humaine.- Dans cet essai surprenant, fourmillant d'idées, 011ivier Dyens montre que tout comportement, qu'il s'exprime dans l'amour, l'art, la beauté ou l'empathie, sert d'abord et avant tout nos microbes. Ce livre s'inscrit dans une démarche propre au médecin philosophe La Mettrie (1709-1751), aux sensualistes, aux empiristes et aux comptabilistes. Comme La Mettrie, l'auteur perçoit l'humain et le vivant comme une machine ; comme ces philosophes, il pose que le réel n'est saisi qu'à travers sa relation au matériel, au corps, à la matière organique et, maintenant, au numérique.",
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            "abstractNote": "Les questions soulevées par l’empathie provoquée par les textes de fiction se trouvent au cœur d’Empathy and the Novel, de Suzanne Keen. Celle-ci définit l’empathie comme un partage automatique des affects qui se différencie de la sympathie, assimilable à un sentiment de soutien au même titre que la compassion. Keen met en lumière plusieurs fonctions de l’empathie, dont la possibilité de son rôle prosocial. Faisant un retour historique sur sa place dans la littérature au cours des trois derniers siècles, elle explore les aspects positifs et négatifs qui lui sont attribués. \nÀ l’aide de témoignages tirés d’expériences de lecture, Keen émet plusieurs hypothèses basées sur différentes techniques narratives pour susciter l’empathie, telles que l’identification du lecteur avec le personnage. Pour opérer, cette dernière ne requiert pas nécessairement la caractérisation complexe du personnage ni de similitudes apparentes et pratiques entre celui-ci et le lecteur. La capacité empathique d’un roman peut changer avec le temps, selon les époques et le lectorat. Le sentiment provoqué par l’œuvre n’est pas nécessairement celui prévu par l’auteur. \nKeen se demande si le sexe du lecteur et le contexte dans lequel il lit un roman peuvent influencer ses mécanismes d’empathie. Elle mentionne les doutes de nombreux chercheurs quant à l’impact réel qu’une lecture empathique peut créer, puisque l’une des caractéristiques de la fiction étant que le lecteur est libéré du devoir d’intervenir ou de réagir dans le monde réel.\nElle s’intéresse aux intentions de l’auteur et à la notion d’« inexactitude empathique ». Cette dernière a lieu lorsqu’un lecteur est empathique, bien que l’auteur n’ait pas eu l’intention de provoquer une telle réaction chez lui. Keen rend également compte des stratégies visant à créer de l’empathie chez un groupe spécifique de lecteurs. Elle termine soulignant les conséquences potentiellement négatives de l’empathie.",
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            "abstractNote": "A tight coupling between lexico-semantic access and motor control has been established on the basis of neuropsychological, neurophysiological, and behavioral evidence. For example, sensory and motor cortices have been shown to be active when subjects listen to words denoting bodily actions. Kinematic analyses of subjects' motor actions during the processing of linguistic stimuli provide further insights into the nature and time-course of this relationship. However, such studies have largely focused on individual body parts, in particular the upper limbs, thus neglecting the effect of language processing on lower or whole body representations. The present study bridges this gap by evaluating the interaction between linguistic processing and whole-body postural control during quiet standing. The results reveal a systematic influence of passive listening to action verbs, but not mental-state verbs, on measures of postural control, pointing to a clear and specific neural link between words conveying action concepts and whole-body motor functions.",
            "publicationTitle": "Neuroscience Letters",
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            "abstractNote": "Spatial stimulus location information impacts on saccades: Pro-saccades (saccades towards a stimulus location) are faster than anti-saccades (saccades away from the stimulus). This is true even when the spatial location is irrelevant for the choice of the correct response (Simon effect). The results are usually ascribed to spatial sensorimotor coupling. However, with finger responses Simon effects can be observed with irrelevant spatial word meaning, too. Here we tested whether a Simon effect of spatial word meaning in saccades could be observed for words with vertical (“above” or “below”) and horizontal (“left” or “right”) meanings. We asked our participants to make saccades towards one of the two saccade targets depending on the color of the centrally presented spatial word, while ignoring their spatial meaning (Experiment 1 and 2a). Results are compared to a condition in which finger responses instead of saccades were required (Experiment 2b). In addition to response latency we compared the time course of vertical and horizontal effects. We found the Simon effects due to irrelevant spatial meaning of the words in both saccades and finger responses. The time course investigations revealed different patterns for vertical and horizontal effects in saccades, indicating that distinct processes may be involved in the two types of Simon effects.",
            "publicationTitle": "Vision Research",
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            "title": "The Origin of Ideas: Blending, Creativity, and the Human Spark",
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                    "firstName": "Mark",
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            "abstractNote": "Why are we so innovative? Where do new ideas come from? Why are human beings so exceptionally good at innovation, leaving other species mentally in the dust? How can we hold onto new ideas once they are formed? This book explores the claim that the human spark, the source of innovation and the origin of ideas, was an advance that occurred in a particular kind of mental operation, which Turner calls blending. Blending is our ability to take two ideas or more and create a new idea from the\"blend.\" And what is so fascinating is how human beings are able to engage in blending almost without effort and usually unconsciously. It appears to be second nature to us, how we live and breathe in the course of processing information and ideas.    Human beings are profoundly different from all other species in this ability. While many species can do what we cannot - fly, run amazingly fast, see in the dark - only human beings can innovate. Beginning somewhere in the Paleolithic Age, everything changed in the course of human events. Before that, we were a bunch of large mammals. After that, we were poised to take over the world. Turner makes the controversial and provocative claim that what made human advances possible was the ability to engage in the virtuosity of blending, which is everywhere apparent in our cultural record - in our creations and innovations - it is the origin of our ideas.    Turner's theory of blending is featured in Jonah Lehrer's bestselling book, Imagine,and this book will be the first to lay out this theory in detail for a lay audience and academics tackling the nature of the human brain and the fascinating puzzle of what it means to be human.",
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