Mindfulness, Phenomenology, and Psychological Science

Most present-day research on mindfulness treats mindfulness as a variable that is studied in relation to other variables. Although this research may provide us with important knowledge at the population level and mechanism level, it contributes little to our understanding of the phenomenon of mindfulness as it is experienced and enacted at the person level. The present paper takes a person-oriented phenomenological perspective on mindfulness, comparing this perspective with that of von Fircks' (2023). In a first part of the paper, mindfulness is discussed as a phenomenological practice that can be studied by means of experimental phenomenology. It is argued that there is room for the development of an immense variety of personalized mindfulness practices that may serve people's health and well-being. The second part of the paper contains a brief discussion of the possible role of mindful observation and reflection in psychological research. It is argued that mindfulness skills may be important both for improving the quality of phenomenological observation and to facilitate creative thinking in connection with the development of psychological theory. A main implication is that an integration between mindfulness and phenomenology may serve as an important part of this process.

Different contexts change the impression of animacy

The aim of this research was to explore the effect of different spatiotemporal contexts on the perceptual saliency of animacy, and the extent of the relationship between animacy and other related properties such as emotions and intentionality. Paired-comparisons and ratings were used to compare the impressions of animacy elicited by a small square moving on the screen, either alone or in the context of a second square. The context element was either static or moving showing an animate-like or a physical-like trajectory, and the target object moved either toward it or away from it. The movement of the target could also include animacy cues (caterpillar-like expanding/contracting phases). To determine the effect of different contexts on the emergence of emotions and intentions, we also recorded and analysed the phenomenological reports of participants. The results show that the context significantly influences the perception of animacy, which is stronger in dynamic contexts than in static ones, and also when the target is moving away from the context element than when it is approaching it. The free reports reveal different proportions in emotional or intentional attributions in the different conditions: in particular, the "moving away" condition is related to negative emotions, while the "approaching" condition evokes positive emotions. Overall, the results suggest that animacy is a graded concept that can be articulated in more general characteristics, like simple aliveness, and more specific ones, like intentions or emotions, and that the spatiotemporal contingencies of the context play a crucial role in making them evident.

The psychophysics of comic: Effects of incongruity in causality and animacy

According to several theories of humour (see Berger, 2012; Martin, 2007), incongruity - i.e., the presence of two incompatible meanings in the same situation - is a crucial condition for an event being evaluated as comical. The aim of this research was to test with psychophysical methods the role of incongruity in visual perception by manipulating the causal paradigm (Michotte, 1946/1963) to get a comic effect. We ran three experiments. In Experiment 1, we tested the role of speed ratio between the first and the second movement, and the effect of animacy cues (i.e. frog-like and jumping-like trajectories) in the second movement; in Experiment 2, we manipulated the temporal delay between the movements to explore the relationship between perceptual causal contingencies and comic impressions; in Experiment 3, we compared the strength of the comic impressions arising from incongruent trajectories based on animacy cues with those arising from incongruent trajectories not based on animacy cues (bouncing and rotating) in the second part of the causal event. General findings showed that the paradoxical juxtaposition of a living behaviour in the perceptual causal paradigm is a powerful factor in eliciting comic appreciations, coherently with the Bergsonian perspective in particular (Bergson, 2003), and with incongruity theories in general.