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IntroductionCoronavirus disease 2019 (COVID-19) poses an important risk of morbidity and of mortality, in patients after solid organ transplantation. Recommendations have been issued by various transplantation societies at the national and European level to manage the immunosuppressive (IS) regimen upon admission to intensive care unit (ICU).MethodThe aim of this study was to evaluate the adequacy of IS regimen minimization strategy in kidney transplant recipients hospitalized in an ICU for severe COVID-19, in relation to the issued recommendations.ResultsThe immunosuppressive therapy was minimized in all patients, with respectively 63% and 59% of the patients meeting the local and european recommendations upon admission. During ICU stay, IS was further tapered leading to 85% (local) and 78% (european) adequacy, relative to the guidelines. The most frequent deviation was the lack of complete withdrawal of mycophenolic acid (22%). Nevertheless, the adequacy/inadequacy status was not associated to the ICU- or one-year-mortality.DiscussionIn this single-center cohort, the only variable associated with a reduction in mortality was vaccination, emphasizing that the key issue is immunization prior to infection, not restoration of immunity during ICU stay.

Abstract Traditional philosophical inquiry, and more recently neuroscientific studies, have investigated the sources of artworks' aesthetic appeal. A substantial effort has been made to isolate the objective features contributing to aesthetic appreciation. While variables such as contrast or symmetry have been shown to robustly impact aesthetic judgment, they only account for a small portion of the intersubjective variability in aesthetic ratings. Recent multiprocess model of aesthetic appreciation could accommodate this finding by proposing that evaluative processes based on self-reference underpin the idiosyncrasy of aesthetic judgment. We tested this hypothesis in two behavioral studies, that were basically conceptual replications of our previous work, in which we took advantage of the self-reference effect on memory. We also tried to disentangle the role of self-reference and emotional reaction to artworks in guiding aesthetic judgments, by comparing an aesthetic judgment encoding condition to a self-reference condition (Study 1), and an emotional evaluation condition (Study 2). We show that artworks encoded in an aesthetic judgment condition exhibit a similar mnesic advantage compared to both the self-reference and the emotional evaluation encoding conditions. Moreover, retrospective emotional judgment correlates with both self-reference and aesthetic judgments ratings. These results suggest that a basic mechanism, appraisal of self-relevance, could ground aesthetic judgments.

Awe seems to be a complex emotion or emotional construct characterized by a mix of positive (contentment, happiness), and negative affective components (fear and a sense of being smaller, humbler or insignificant). It is striking that the elicitors of awe correspond closely to what philosophical aesthetics, and especially Burke and Kant, have called “the sublime.” As a matter of fact, awe is almost absent from the philosophical agenda, while there are very few studies on the experience of the sublime as such in the psychological literature. The aim of this paper is to throw light on the complex relationship between awe (as understood by psychologists) and the experience of the sublime (as discussed by philosophers). We distinguish seven ways of conceiving this relationship and highlight those that seem more promising to us. Once we have a clearer picture of how awe and the experience of the sublime are related, we can use it to enhance collaboration between these domains. We would be able to use empirical results about awe in a philosophical analysis of the experience of the sublime, which in turn can help us to design novel experimental hypotheses about the contexts in which we experience awe.