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When we've got a problem to solve, we don't just use our brains but the rest of our bodies as well, researchers at the University of Wisconsin have determined. The researchers recruited 86 American undergraduates, half of whom were prevented from moving their hands using Velcro gloves that attached to a board. The others were prevented from moving their feet, using Velcro straps attached to another board - but had their hands free. From the other side of an opaque screen, an experimenter asked questions about gears in relation to each other. For example: "If five gears are arranged in a line, and you move the first gear clockwise, what will the final gear do?" The participants solved the problems aloud and were videotaped. The videotapes were analyzed for the number of hand gestures the participants used (hand rotations or "ticking" movements, indicating counting); verbal explanations indicating the subject was visualizing those physical movements; or the use of more abstract mathematical rules, without reference to perceptual-motor processes. The researchers then repeated the experiment and analysis with 111 British adults. The researchers found that the people who were allowed to gesture usually did so, and they also commonly used perceptual-motor strategies in solving the puzzles. The people whose hands were restrained (as well as those who chose not to gesture even when allowed), used abstract, mathematical strategies much more often. Their work will be published in an upcoming issue of Psychological Science, a journal of the Association for Psychological Science.

In 1977 a study of works of art that ranged from cave drawings made in 15,000 B.C. to paintings of the 1950's found that an overwhelming majority of the people in them were also right-handed, regardless of their race, country, or culture. Yet throughout the history of the human race, some people have been left-handed. Today the proportion of left-handers is 10 to 15 percent of the population worldwide. Why are most people right-handed? And what causes some to be different?

Brain, bodily awareness, and the emergence of a conscious self: these entities and their relations are explored by Germanphilosopher and cognitive scientist Metzinger. Extensively working with neuroscientists he has come to the conclusion that, in fact, there is no such thing as a "self" -- that a "self" is simply the content of a model created by our brain - part of a virtual reality we create for ourselves. But if the self is not "real," he asks, why and how did it evolve? How does the brain construct the self? In a series of fascinating virtual reality experiments, Metzinger and his colleagues have attempted to create so-called "out-of-body experiences" in the lab, in order to explore these questions. As a philosopher, he offers a discussion of many of the latest results in robotics, neuroscience, dream and meditation research, and argues that the brain is much more powerful than we have ever imagined. He shows us, for example, that we now have the first machines that have developed an inner image of their own body -- and actually use this model to create intelligent behavior. In addition, studies exploring the connections between phantom limbs and the brain have shown us that even people born without arms or legs sometimes experience a sensation that they do in fact have limbs that are not there. Experiments like the "rubber-hand illusion" demonstrate how we can experience a fake hand as part of our self and even feel a sensation of touch on the phantom hand form the basis and testing ground for the idea that what we have called the "self" in the past is just the content of a transparent self-model in our brains. Now, as new ways of manipulating the conscious mind-brain appear on the scene, it will soon become possible to alter our subjective reality in an unprecedented manner. The cultural consequences of this, Metzinger claims, may be immense: we will need a new approach to ethics, and we will be forced to think about ourselves in a fundamentally new way. At

This paper was presented at the Alfred Hitchcock conference For the Love of Fear convened by the Museum of Contemporary Art, Sydney, held from 31 March to 2 April 2000. * * * Hermia: Methinks I see these things with parted eye, When everything seems double… Demetrius: Are you sure That we are awake? It seems to me That yet we sleep, we dream. A Midsummer Night's Dream, IV, ii, 192-197. Just about everything about Hitchcock's Spellbound (1945) seems double, not least the film's critical reputation. On the one hand, Andrew Britton, not a man to equivocate, declares that "one can make no claim forSpellbound as an achieved work of art," citing, among its shortcomings, "the discrepancy between surface and implication, the grotesque uncertainty of tone (especially noticeable in the wildly clashing conventions of the acting) and the frequent banality of the script" (83). Many, even among Hitchcock's admirers, would agree.Spellbound is, in fact, not spellbinding, not one of Hitchcock's masterworks, not a Rear Window (1954) nor aVertigo (1958). On the other hand, though, it is, as Marshall Deutelbaum and Leland Poague point out, the first of Hitchcock's films in which "questions of visualization and displacement, of guilt conjured up and denied - questions which will eventually inform such films as Rear Window and Vertigo - become overt subject matter"

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"Here's a concise guide, based on decades of personal observation (IOW, mostly staring into my own head), on how to survive first contact with an INTJ. Not all INTJs will fully conform to (or even agree with) all these points… there's a wide spectrum of variation out there. For instance, there is a rumour going round that some INTJs are less sarcastic than others. So don't take this list too seriously (INTJs, after all, tend to take things seriously). On the other hand, ignore it at your own peril "

Proposition 1. If there is a slumbering poet in every psychoanalyst and in every poet a psychoanalyst caught unawares it is because they both evoke an articulated language, that of the unconscious. For the first it unfolds in a rigorous closerous closed field and for the second it expands in lyrical and wild romanticism. Proposition 2. Chess masters possess the art of people who have none, psychoanalysts that of healing; poets that of enchanting. All three are confronted with their solitude; often in research sometimes in music and innermost joy. Proposition 3. There are no established poets and no street poets, only poets, full stop. On the other hand, there are no psychoanalysts as such. There are solicitors of the mind, mayors of the unconscious, pedagogues, teachers, doctors or theoreticians, but, they are in good lodgings.

Back in 1958, Ted Schwarzrock was an 8-year-old third grader when he became one of the "Torrance kids," a group of nearly 400 Minneapolis children who completed a series of creativity tasks newly designed by professor E. Paul Torrance. Schwarzrock still vividly remembers the moment when a psychologist handed him a fire truck and asked, "How could you improve this toy to make it better and more fun to play with?"

In a new study, researchers measured both liberals' and conservatives' reaction to "gaze cues" -- a person's tendency to shift attention in a direction consistent with another person's eye movements. Liberals responded strongly to the prompts, consistently moving their attention in the direction suggested to them by a face on a computer screen. Conservatives, on the other hand, did not

You know that phrase, "Ignorance is bliss"? There's a reason it's stuck around all these years. Because having the upper hand in intelligence might give you an advantage in some areas, like crossword puzzle solving and quantum physics-ing, but it also might just screw up your life forever.For instance, if you're smart ...

Why are we all so different? Here is a toolkit for finding out what people are really like IN THE 4th century BC, the Greek philosopher Theophrastus, Aristotle's student and successor, wrote a book about personality. The project was motivated by his interest in what he considered a very puzzling question: "Why it has come about that, albeit the whole of Greece lies in the same clime, and all Greeks have a like upbringing, we have not the same constitution of character?" Not knowing how to get at the answer, Theophrastus decided to instead focus on categorising those seemingly mysterious differences in personality. The result was a book of descriptions of personality types to which he assigned names such as The Suspicious, The Fearful and The Proud. The book made such an impression that it was passed down through the ages, and is still available online today as The Characters of Theophrastus. The two big questions about personality that so interested Theophrastus are the same ones we ask ourselves about the people we know: why do we have different personalities? And what is the best way to describe them? In the past few decades, researchers have been gradually answering these questions, and in my new book, Making Sense of People: Decoding the mysteries of personality, I take a look at some of these answers. When it comes to the origins of personality, we have learned a lot. We now know that personality traits are greatly influenced by the interactions between the set of gene variants that we happen to have been born with and the social environment we happen to grow up in. The gene variants that a person inherits favour certain behavioural tendencies, such as assertiveness or cautiousness, while their environmental circumstances influence the forms these innate behavioural tendencies take. The ongoing dialogue between the person's genome and environment gradually establishes the enduring ways of thinking and feeling that are the building blocks of personality. This de

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German philosopher of mind Thomas Metzinger is one of the world's top researchers on consciousness, instrumental in its renaissance as a respectable problem for scientific enquiry. From out-of-body experiences to lucid dreaming, anarchic hand syndrome to phantom limbs, his investigations have taken him to places few dare to go. Be spooked, bewildered and amazed.

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