Car cultures have social, material and, above all, affective dimensions that are overlooked in current strategies to influence car-driving decisions. Car consumption is never simply about rational economic choices, but is as much about aesthetic, emotional and sensory responses to driving, as well as patterns of kinship, sociability, habitation and work. Through a close examination of the aesthetic and especially kinaesthetic dimensions of automobility, this article locates car cultures (and their associated feelings) within a broader physical/material relational (...) setting that includes both human bodies and car bodies, and the relations between them and the spaces through which they move (or fail to move). Drawing on both the phenomenology of car use and new approaches in the sociology of emotions, it is argued that everyday car cultures are implicated in a deep context of affective and embodied relations between people, machines and spaces of mobility and dwelling in which emotions and the senses play a key part – the emotional geographies of car use. Feelings for, of and within cars (‘automotive emotions’) come to be socially and culturally generated across three scales involved in the circulations and displacements performed by cars, roads and drivers: embodied sensibilities and kinaesthetic performances; familial and sociable practices of ‘caring’ through car use; and regional and national car cultures that form around particular systems of automobility. By showing how people feel about and in cars, and how the feel of different car cultures generates habitual forms of automobilized life and different dispositions towards driving, it is argued that we will be in a better position to re-evaluate the ethical dimensions of car consumption and the moral economies of car use. (shrink)

New hardware such as mobile handheld devices and digital cameras; new online social venues such as social networking, microblogging, and online photo sharing sites; and new infrastructures such as the global positioning system are beginning to establish new practices—what the author refers to as “sociolocative”—that combine data about a physical location, such as a geotag, with a virtual social act. This research investigates the phenomenon of documentary broadcasting, whereby individuals curate lasting descriptions and commentaries about a (...) location for a public audience, often using the photo sharing site, Flickr. Unlike many photographs shared online, the subject of a documentary post is always a place and not the activities nor identity of the broadcaster himself or herself. When presented together as curated narratives, posted images transform Flickr into a virtual public “gallery space” that captures, presents, and preserves aspects of a place that may last longer than the physical location itself. (shrink)

Alongside social anthropology and discursive psychology, conversation analysis has highlighted ways in which cultural forms of perceiving and acting in the world are primarily rooted in socially shared normativity. However, when consideration turns to the origins and purposes of human affect and emotion, conversation analysis appears to face particular difficulties that arise from the over-arching focus on sense-making practices. This paper considers the proposal that psychoanalytic thinking might inform our understanding of how socially shared normativity emerges during infancy and (...) early childhood. First, a framework is sketched out that highlights the fact that from the beginning an infant’s earliest experience is bound up with those practices and social actions that make up what conversation analyst’s call members’ methods. Second, comparisons are drawn between conversation analysis and psychoanalytic accounts of early experience for infants during the first years of life. Discussion then moves to the Kleinian notion of object relations, and the concept of projective identification. Essentially, this is a theoretical account of how ‘what-was-once-one’ (the mother-infant unit) differentiates resulting in the gradual emergence of the ‘individuated being’. What is often glossed over in this account is the discursively embedded nature of projective identification; a process that is itself interdependent with the embodiment that makes up the infant’s lived engagement with the world. Whatever might constitute consciousness emerges from somatic, embodied, material-physical, tactile/affective experience – that is, a fundamentally social milieu. This raises the question of how transformation (i.e., from the social to the individual) occurs. One answer may be Winnicott’s idea of the transitional space, where the ‘good-enough’ parent is said to be somebody who can ‘contain’ both negative and positive identifications coming from the infant, transform and re-project such identifications, but in modified from. In this way the infant begins to recognise/experience what it is they are ‘feeling’. Such projective identifications are conveyed within and through the prevailing discourses that constitute all social practices. Concluding comments note that conversation analysis may find in psychoanalytic thinking a framework for understanding the interdependence between affect and action, as in psychoanalytic thought we find a thoroughly relational conception of human nature. (shrink)

The article discusses the key stages of the development of ‘disability studies’. Public awareness of the problems of inclusion, as overcoming social inequality, is in the stage of formation in Ukraine and needs a socio-philosophical implementation. he main purpose of the article is to analyze the problem of social space of the city, which is convenient for the life of citizens with different set of opportunities, and the expediency of including disability as a social phenomenon in the (...) broad philosophical context of study. The field of thinking about the city in the study is outlined in the following concepts: the right to the city, the urban space for human development, social communications and the just principles of being. It is important to understand the vector of the development of the socio-cultural field of the city in terms of overcoming the "soulless indifference" (bliss) and for the development of communication between the citizens. The novelty of the work is determined by the rationale for the transformation of traditional disability models in modern conditions of social development. The relevance of the study is associated with the complexity of the phenomenon of disability, insufficient knowledge of the factors and problems of inclusion of people with special needs in society. With the growing number of people with disabilities in society, the problem of developing a culture of disability becomes urgent, the low level of which should be considered a challenge. A culture of disability implies a mutual desire of people with disabilities and society to move towards each other. The practical aspect of the research is related to the need for change of social consciousness, inclusion of persons with disabilities in the social space, development of social competences of people with disabilities and transformation of these people from the object of social assistance into an active subject and participant of the processes taking place in society., implementation of projects based on justice and citizenship. (shrink)

Green space around the university campus is of paramount importance for emotional and psychological restorations in students. Positive emotions in students can be aroused when immersed in green space and naturalness. However, to what extent can perceived naturalness influence students' positive emotion remains unclear, especially in the context of COVID-19 countermeasures. This study, therefore, attempts to investigate in-depth the nature and strength of the relationships between students' positive emotion and their perceived naturalness, place attachment, and landscape preference, which are (...) potentially varying across universities in different social and environmental contexts and different restrictions policies regarding the COVID-19 pandemic. (shrink)

Bernard Matolino has recently argued that African communitarianism is an ethics grounded in emotion aligned with reason. If he is correct, questions arise about what emotions have value within African communitarianism, especially as emotions like anger or resentment could stand in tension with important communitarian values, such as social harmony. While little critical attention has so far been paid to such emotions within an African communitarian framework, a wider philosophical literature examining the moral value of disruptive emotions could be (...) drawn on to develop analyses of emotion within African communitarianism. In this paper, I explore how such an analysis could proceed. I argue that drawing on the wider emotion literature, and especially the concept of reactive attitudes introduced by P. F. Strawson, provides an initial case for even disruptive emotions to have value. Even so, we must question whether an analysis of emotion plausibly based on individualistic commitments is compatible with relational communitarian commitments. I nevertheless defend the compatibility and argue that, not only can disruptive emotions have instrumental value through their epistemic and motivational roles in the promotion of community but, importantly, they are partially constitutive of the interpersonal relationships within which we are embedded and that form community. (shrink)

Abstract:This article correlates the physical composition of the built environment with social interactions and human relationships. The resulting framework draws on an embodied cognitive position through interdisciplinary knowledge with priority given to architectural theory and cognitive linguistics. This approach does not address idiosyncratic, phenomenological descriptions of experiences of place but the potential relationship of human bodies through situated semantics suggested by spatial composition. In this article we ask how the physical arrangement of a space can provide information (...) for analyzing the probable social relations such as positions of hierarchy, power, and authority. We identify two theoretical models, namely latent embodied cognitive operations and space as a situated concept, which can be used to correlate physical arrangements with social meaning. (shrink)

A new theory of how the brain constructs emotions that could revolutionize psychology, health care, law enforcement, and our understanding of the human mind Emotions feel automatic, like uncontrollable reactions to things we think and experience. Scientists have long supported this assumption by claiming that emotions are hardwired in the body or the brain. Today, however, the science of emotion is in the midst of a revolution on par with the discovery of relativity in physics and natural selection in biology--and (...) this paradigm shift has far-reaching implications for us all. Leading the charge is psychologist and neuroscientist Lisa Feldman Barrett, whose theory of emotion is driving a deeper understanding of the mind and brain, and shedding new light on what it means to be human. Her research overturns the widely held belief that emotions are housed in different parts of the brain and are universally expressed and recognized. Instead, she has shown that emotion is constructed in the moment, by core systems that interact across the whole brain, aided by a lifetime of learning. This new theory means that you play a much greater role in your emotional life than you ever thought. Its repercussions are already shaking the foundations not only of psychology but also of medicine, the legal system, child-rearing, meditation, and even airport security. Why do emotions feel automatic? Does rational thought really control emotion? How does emotion affect disease? How can you make your children more emotionally intelligent? How Emotions Are Made answers these questions and many more, revealing the latest research and intriguing practical applications of the new science of emotion, mind, and brain. (shrink)

The article presents and discusses an ongoing fellowship project entitled ‘Space for Interference’, conducted under the Norwegian Programme for Research Fellowships in the Arts. Two concrete site-specific art projects produced under Space for Interference serve as a point of departure for an investigation into methods of interference and the forms of address that artists use when intervening in other specialized fields in society. The institutions that provide the site for an art project have different social functions. We ask what (...) may be their motivation for allowing artists access to their physical environments, apparatuses, procedures, systems and discourses. The fact that the artists’ projects in these contexts function as a means of self-observation for the institutions seems obvious. Nevertheless, we seek to investigate the various economic and political factors that allow these institutions to include potentially critical activities, which aim to modify or transgress their systems, and thereby displaying how they are malleable and mobile bodies. One assertion we make is that by doing so the involved institutions prove to be modern, self-critical and flexible, thus complying with political requirements to adapt to the rapidly changing environments of the information and communication age. The perspective from systems theory in the Luhmannian tradition has proved useful since it shows how the issues of art may also be the problems of science, business, politics and the law in the complex and decentered social universe of today. The issues of contingency, insecurity, paradox and autoreflexivity, surplus meanings and the complexity and decentering of the subject are at the heart of contemporary art. Systems theory provides a way to link such practices theoretically with scientific discourse and with the advanced problem solving and criticality of other social domains, like politics, business and the media industries. (shrink)

Pedagogy is an inherently spatial practice. Implicit in much of the rhetoric of physical space designed for teaching and learning is an ontological position that assumes material space as distinct from human practice, often conceptualising space as causally impacting upon people’s behaviours. An alternative, and growing, perspective instead theorises infrastructure as a sociomaterial assemblage, an entanglement, with scholarly learning, teaching, institutional agendas, architectural intent, technology, staff, students, pedagogic outcomes, and built form all participants in an active symbiosis of becoming. (...) This article synthesises and works with spatial theories to elaborate on the emergent literature and illustrates a sociomaterial understanding through narratives of self and staff, teaching and learning in a university context. The terms sociomaterial, assemblage and entanglement allude to a relational ontology underlying spatial-social being-becoming. This understanding can support the realisation of the intent underlying transformations of material spaces to create collaborative and inclusive university environments, where staff and students can learn, belong, and become as part of a scholarly community. I argue that sociomaterial theory is valuable to make meaning of the inseparable mélange of people, place, technologies, interaction, discourse, feeling, value and power that is teaching and learning. (shrink)

Psychology suffers from the absence of mathematically-formalized primitives. As a result, conceptual and quantitative studies lack an ontological basis that would situate them in the company of natural sciences. The article addresses this problem by describing a minimal psychic structure, expressed in the algebra of quantum theory. The structure is demarcated into categories of emotion and color, renowned as elementary psychological phenomena. This is achieved by means of quantum-theoretic qubit state space, isomorphic to emotion and color experiences both in meaning (...) and math. In particular, colors are mapped to the qubit states through geometric affinity between the HSL-RGB color solids and the Bloch sphere, widely used in physics. The resulting correspondence aligns with the recent model of subjective experience, producing a unified spherical map of emotions and colors. This structure is identified as a semantic atom of natural thinking—a unit of affectively-colored personal meaning, involved in elementary acts of a binary decision. The model contributes to finding a unified ontology of both inert and living Nature, bridging previously disconnected fields of research. In particular, it enables theory-based coordination of emotion, decision, and cybernetic sciences, needed to achieve new levels of practical impact. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope (...) that requires two identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In the nation of Belize, and in particular the south side of Belize City, the main metropolitan area of the nation, significant economic disparities have led to child and adolescent exposure to high rates of violent crime, gang activity, unsafe neighborhoods, sexual, and physical violence. Problems associated with poor Social-Emotional Character Development are especially prevalent among boys. Consequently, valid culture-relevant measures are required that identify problematic behavior for policy-based intervention and evaluation of educational programs designed to ameliorate (...) this problem. The present study demonstrates the application of Exploratory Structural Equation Modeling to existing measures through the investigation of structural validity and generalizability of the Social-Emotional and Character Development Scale with a large sample of children from schools in Belize. Exploratory structural equation modeling results demonstrate the original factor correlations were reduced, providing less biased estimates than confirmatory factor analysis. Moreover, a multi-group Exploratory Structural Equation Modeling analysis illuminates significant differences between latent factor scores of males and females for most factors. Using this newer factor analytic procedure, original factors are reconceptualized to better situate the Social Emotional Character Development Scales into the larger body of Social-Emotional Learning competencies literature. (shrink)

To better prepare students for active and thoughtful participation in a democratic society, civic education should foster an array of civic competencies. Cultivating student civic agency—an under-studied civic competency—is of particular importance to equip students to authentically use their voice in their communities. But what does it look like to foster student civic agency in a classroom setting? This article leverages a social and emotional learning (SEL) framework to uncover the active curricular ingredients and educational mechanisms through which (...) a student-led civics curriculum has fostered civic agency. In this multi-site case study, we analyze the implementation of an eighth grade student-led civics curriculum in a northeastern U.S. state. We outline how implicit SEL processes in these classrooms, stemming from a pedagogical focus on “changemakers,” supported development of civic agency. We found that the changemakers theme facilitated student exploration of their own civic identity and values, while prompting students to critically examine political power structures. Notably, the theme also helped students to develop a narrative of self as changemakers and to envision themselves actively engaged in civic spaces. This study adds insights to growing evidence on the multi-faceted benefits that civically-oriented SEL may offer to preparing young people to engage in democracy. (shrink)

Drawing on Merleau-Ponty, I contend that emotions should be regarded as emerging from our “vital communication” with the solicitations of our physical and social surroundings. My intention is to present emotions as unitary phenomena arising from an incessant flow of motivations that can be later articulated in terms of reasons (in cognitive theories of emotions) or in terms of causes (in affective neuroscience). I further suggest that emotions should be considered a specific kind of conducts, since the way (...) in which a person acts out her emotions shapes their content, regulates their intensity and transforms the amorphous flow of felt motivations into a recognizable emotional stance for which she is held accountable. In conclusion, I put forward a series of arguments explaining why emotion tends toward its expression in conduct as if towards its completion. (shrink)

Our article is an overview of a selection of findings in physics relating to the issue of time—we do not present in it any “time theory” of our own. After making some general remarks on the issue of time, we present historical outline and a brief description of the current state of time interval measurements. Subsequently, we go on to discuss certain (relating to the concept of time) consequences of both theories of relativity: special and general. Here, time is a (...) geometrical component of space-time continuum. Following section is dedicated to time in the so-called Hamiltonian formulations of the theory of particles, where it appears as a parameter of evolution. The last section contains remarks referring to certain attempts of going beyond the recognized physical theories relating to the question of time. (shrink)

A phenomenological account of spatial perception in relation to the lived body. -/- The Sense of Space brings together space and body to show that space is a plastic environment, charged with meaning, that reflects the distinctive character of human embodiment in the full range of its moving, perceptual, emotional, expressive, developmental, and social capacities. Drawing on the philosophies of Merleau-Ponty and Bergson, as well as contemporary psychology to develop a renewed account of the moving, perceiving body, the (...) book suggests that our sense of space ultimately reflects our ethical relations to other people and to the places we inhabit. (shrink)

Several legal scholars have recently argued that U.S. tort law’s physical-emotional distinction commits tort to the objectionable position of mind-body dualism, but they have not considered the distinction’s role as an aid to judicial cognition and decision-making. Drawing primarily on the law of negligent infliction of emotional distress, this essay argues that tort’s physical-emotional distinction is not a relic of mind-body dualism but a heuristic that judges have used to structure and simplify the difficult but (...) unavoidable task of drawing lines between legally cognizable and non-cognizable harm. The analysis has at least three normative implications: (1) users of tort’s physical-emotional distinction should clarify that they neither endorse dualism nor depreciate emotional harm; (2) because judicial expertise may not extend to the task of drawing lines between legally cognizable and non-cognizable harm, judicial performance in this area may be more adequate than critics suggest; and (3) although it may not be possible to determine the optimal way of drawing lines between legally cognizable and non-cognizable emotional harm, moral-philosophical tools such as Rawlsian and Scanlonian contractualism may be able to identify partial or pro tanto considerations for choosing among different ways of doing so. (shrink)

This book examines the psychic and emotional effects of the dehumanization of children based on discrimination and difference in classrooms. Using psychoanalysis, it highlights the emotional structures that develop in learners through the repeated trauma of racism and homophobia. Recommended for scholars in education, psychoanalysis, and sociology.

The present work aims at developing a scale for the assessment of a construct that we called “physical–digital integration”, which refers to the tendency of some individuals not to perceive a clear differentiation between feelings and perceptions that pertain to the physical or digital environment. The construct is articulated in four facets: identity, social relationships, time–space perception, and sensory perception. Data from a sample of 369 participants were collected to evaluate factor structure (unidimensional model, bifactor model, correlated (...) four-factor model), internal consistency (Cronbach’s _α_, McDonald’s _ω_), and correlations of the physical–digital integration scale with other measures. Results showed that the scale is valid and internally consistent, and that both the total score and the scores at its four subscales are worthy of consideration. The physical–digital integration scores were found to be differently associated with digital and non-digital behaviors, individuals’ ability to read emotions in the facial expressions of others, and indicators of psychosocial functioning (anxiety, depression, and satisfaction with social relationships). The paper proposes a new measure whose scores are associated with several variables that may have relevant consequences at both individual and social levels. (shrink)

The construction of embodied conversational agents - robots as well as avatars - seem to be a new challenge in the field of both cognitive AI and human-computer-interface development. On the one hand, one aims at gaining new insights in the development of cognition and communication by constructing intelligent, physical instantiated artefacts. On the other hand people are driven by the idea, that humanlike mechanical dialog-partners will have a positive effect on human-machine-communication. In this contribution I put for discussion (...) whether the visions of scientist in this field are plausible and which problems might arise by the realization of such projects. (shrink)

How we experience space by listening: the concepts of aural architecture, with examples ranging from Gothic cathedrals to surround sound home theater. We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic (...) meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines—including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others—Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects. (shrink)

The author proposes a dimensional model of our emotion concepts that is intended to be largely independent of one’s theory of emotions and applicable to the different ways in which emotions are measured. He outlines some conditions for selecting the dimensions based on these motivations and general conceptual grounds. Given these conditions he then advances an 8-dimensional model that is shown to effectively differentiate emotion labels both within and across cultures, as well as more obscure expressive language. The 8 dimensions (...) are: (1) attracted—repulsed, (2) powerful—weak, (3) free—constrained, (4) certain—uncertain, (5) generalized—focused, (6) future directed—past directed, (7) enduring—sudden, (8) socially connected—disconnected. (shrink)

The overreliance on verbal models and theories in psychology has been criticized for hindering the development of reliable research programs (Harris, 1976; Yarkoni, 2020). We demonstrate how the conceptual space framework can be used to formalize verbal theories and improve their precision and testability. In the framework, scientific concepts are represented by means of geometric objects. As a case study, we present a formalization of an existing three-dimensional theory of emotion which was developed with a spatial metaphor in mind. Wundt (...) posits that the range of human emotion can be represented along three axes of basic emotions (pleasure/displeasure, excitement/inhibition, tension/relaxation), just as color vision can be represented using three basic colors. We use dimensions to represent basic emotions, points to represent emotional states, and regions to represent broader emotional concepts. We then compare our formalization to an existing structuralist formalization of Wundt’s theory. Further, we discuss the empirical predictions that our formalization generates, such as comparisons of similarity and intensity. We conclude by demonstrating how the tools developed in the conceptual space framework can be used to formulate a theory of emotion based on empirical observation. (shrink)

This book examines the psychic and emotional effects of the dehumanization of children based on discrimination and difference in classrooms. Using psychoanalysis, it highlights the emotional structures that develop in learners through the repeated trauma of racism and homophobia. Recommended for scholars in education, psychoanalysis, and sociology.

Accumulating evidence for the unique social, behavioral, and physical health benefits of positive emotion and related well-being constructs has led to the development and testing of positive psychological interventions (PPIs) to increase emotional well-being and enhance health promotion and disease prevention. PPIs are specifically aimed at improving emotional well-being and consist of practices such as gratitude, savoring, and acts of kindness. The purpose of this narrative review was to examine the literature on PPIs with a particular (...) focus on positive emotion outcomes. We evaluated the evidence on the effects of PPIs on positive emotion specifically, and discussed the range of evidence regarding the relative responsiveness of emotion measures to PPIs in order to gain a better understanding of the specific emotional pathways through which PPIs influence psychological and physical well-being. We conclude with recommendations for best evaluating effects of PPIs on positive emotion outcomes. (shrink)

Resumen: Este trabajo tiene como objetivo mostrar que el análisis sistémico aplicado a los espacios locales facilita la generación de propuestas para su desarrollo integral en el ámbito de la sostenibilidad. Los territorios están compuestos por elementos físicos y sociales que se interrelacionan y generan productos que los benefician o perjudican. Estos recursos pueden ser explotados o encontrarse ociosos por falta de actores que los desarrollen. Reaccionan ante las acciones internas y externas tanto humanas como naturales, entre las que se (...) encuentran las políticas para el desarrollo local. Para que estas políticas sean eficientes, necesitan estudios integrales que contengan una información que muestre las deficiencias estructurales, relacionales y funcionales del territorio y, con esta información, adoptar las medidas que las corrijan. Este estudio muestra que el análisis sistémico es una herramienta útil para la elaboración de estas políticas.This paper shows how system analysis applied to local spaces facilitate the generation of proposals for integral development in the field of sustainability. Regions are composed of physical and social components generating products that benefit or harm themselves. These resources can be exploited or remained idle for lack of actors to develop them. They react to internal and external actions, both human and natural. Among these actions are the policies for local development. For these policies to be efficient, they need comprehensive studies that contain information that shows the structural, relational and functional deficiencies of the territory and, with this information, adopt the necessary political actions to correct them. This study supports system analysis as an information tool for policy-making. (shrink)

Conceptual knowledge is dynamic, fluid, and flexible, changing as a function of contextual factors at multiple scales. The Covid-19 pandemic can be considered a large-scale, global context that has fundamentally altered most people's experiences with the world. It has also introduced a new concept, COVID (or COVID-19), into our collective knowledgebase. What are the implications of this introduction for how existing conceptual knowledge is structured? Our collective emotional and social experiences with the world have been profoundly impacted by (...) the Covid-19 pandemic, and experience-based perspectives on concept representation suggest that emotional and social experiences are critical components of conceptual knowledge. Such changes in collective experience should, then, have downstream consequences on knowledge of emotion- and social-related concepts. Using a naturally occurring dataset derived from the social media platform Twitter, we show that semantic spaces for concepts related to our emotional experiences with Covid-19 (i.e., emotional concepts like FEAR)—but not for unrelated concepts (i.e., animals like CAT)—show quantifiable shifts as a function of the emergence of COVID-19 as a concept and its associated emotional and social experiences, shifts which persist 6 months after the onset of the pandemic. The findings support a dynamic view of conceptual knowledge wherein shared experiences affect conceptual structure. (shrink)

Emotions are a natural vector for acting together with others and are witnessed in human behaviour, perception and body functions. For this reason, studies of human-to-human interaction, such as multi-person motor synchronisation, are a perfect setting to disentangle the linkage of emotion with socio-motor interaction. And yet, the majority of joint action studies aiming at understanding the impact of emotions on multi-person performance resort to enacted emotions, the ones that are emulated based on the previous experience of such emotions, and (...) almost exclusively focus on dyadic interaction. In addition, tasks chosen to study emotion in joint action are frequently characterised by a reduced number of physical dimensions to gain experimental control and subsequent facilitation in data analysis. Therefore, it is not clear how naturalistically induced emotions diffuse in more ecological interactions with other people and how emotions affect the process of interpersonal synchronisation. Here, we show that positive and negative emotions differently alter spontaneous human synchronous behaviour during a multi-person improvisation task. The study involved 39 participants organised in triads who self-reported liking improvisational activities. The task involved producing improvisational movements with the right hand. Participants were emotionally induced by manipulated social feedback involving a personal ranking score. Three-dimensional spatio-temporal data and cardiac activity were extracted and transformed into oscillatory signals to compute behavioural and physiological synchrony. Our results demonstrate that individuals induced with positive emotions, as opposed to negative emotions or a neutral state, maintained behavioural synchrony with other group members for a longer period of time. These findings contribute to the emerging shift of neuroscience of emotion and affective sciences towards the environment of social significance where emotions appear the most—in interaction with others. Our study showcases a method of quantification of synchrony in an improvisational and interactive task based on a well-established Kuramoto model. (shrink)

BackgroundThe COVID-19 pandemic has resulted in some populations being confined to their homes as part of infection control measures. This situation can be hard to cope with due to separation from loved ones, prohibition of regular activities, fear of infection, loss of freedom, and so on. These negative impacts cause considerable psychological stress, and all the more so when the situation continues for an extended period, as was the case in Spain. The present study was aimed at investigating the effects (...) of COVID-19 quarantine on the emotional functioning of confined Spanish individuals after 8 weeks of lockdown by means of a cross-sectional study. The possible associations between changes in emotional functioning and demographic variables, health habits, social support, and resilience were also analyzed.MethodsA total of 906 Spanish adults completed an online survey to gather information about their prevailing mood and affects, using the Positive and Negative Affect Schedule, and other variables related to their habits and protective factors.FindingsAs expected, the data indicated an increase in negative affects and a decrease in positive affects after 8 weeks under lockdown, as well as a general decline in overall mood. The largest increases in negative affects were observed in young adults and women. We did not find any differences between people who were or were not diagnosed with COVID-19. Adhering to a routine, maintaining the same weight, and moderate physical exercise were associated with fewer negative affects, which indicates they are important protective factors, as are perceived social support and resilience.ConclusionIn order to mitigate the psychological impact of confinement, it is important to develop psychoeducational measures that encourage subjects to adhere to health habits and promote social support and resilience as protective factors. A special preventive focus should be placed on the most vulnerable population groups, namely women and young adults. For a public health lockdown to succeed, its negative consequences must be minimized insofar as possible through adequate knowledge of the risk factors and protective factors, and by means of prevention-oriented organization. (shrink)

Collaborative Virtual Environments (CVEs) are unique spaces that defy materialist interpretations of space and place. In drawing upon Edward Soja’s work of spatiality, CVEs can be considered as thirdspace, a space that has as much relevance as that typified by our physical, or ‘real,’ existence. Virtual space undermines the rigid polemic of the ‘real’ and ‘imaginary’ by revealing lived experience as a combination of both real and imagined experience. The virtual illuminates experience as a relativist combination of perception (...) and interpretation that inhabits both the corporeal and the virtual realms. Using the example of Second Life’s Lost Gardens of Apollo this article will illuminate the fluidity of real and imagined place through an environment of rich visual experience. Inaddition, such spaces will be discussed as places of potential social and political reconfiguration by challenging the traditional socio-cultural and historical aspects of space. (shrink)

Consumption has emerged as an important historical subject, with most scholars explaining it as a vehicle for therapeutic regeneration, community formation, or economic policy. This work all but ignores how consumption begins with changes to the material world, to physical nature. While environmental historians have something important, even unique, to say about consumption, the split between materialist and cultural analyses within the field has dulled its ability to study consumption as a process and phenomenon that unfolds over space and (...) time. By borrowing techniques from geography and ecology, environmental historians can analyze how space is socially produced through time, an insight that can help to connect material and cultural change in a sustained manner. Spatial histories can also unmask the relationships between production and consumption, and nature and culture, and thereby transcend and subvert seemingly fixed boundaries, from the local to the global. They can also further propel environmental historians into new realms of inquiry, such as international trade and the human body. Historicizing the spaces of consumption may also help to foster a more radical and democratic environmentalism, especially in developed nations, by compelling environmentalists to reassess the distancing effects of consumption upon their politics and attitudes toward those who produce commodities and consumer goods. (shrink)

In this paper we describe the development of the Interaction Space Theory developed as part of the SANE project. EU framework 5 IST project sustainable accommodation for the new economy, IST 2000-25-257 The EU funded project provided an inter-disciplinary context for the study of interactions in the hybrid workplace where physical work environment is enhanced with information and communication technologies (ICT) which enable collaboration with remote partners. We explain how the theoretical approach, empirical work and methodological strategy employed by (...) SANE researchers contribute toward the social intelligence design approach through the development of the methodology for identification of workplace requirements for mobile knowledge workers. In addition, we demonstrate how empirical findings, based upon our theoretical approach, can lead to development of novel methods and techniques for evaluating the impact of new and emerging technologies in the workplace. (shrink)

In this article we outline the history, elements, and variations of functional accounts of emotions. Summarising diverse theories and observations, we propose that functional accounts of emotions: (1) address why humans have emotions; (2) define emotions as solutions to problems and opportunities related to physical and social survival; (3) treat emotions as systems of interrelated components; and (4) focus on the beneficial consequences of emotions. This conceptual approach to emotion is complemented by several empirical strategies, including the study (...) of emotion dysfunction, the effects of emotions on others, and the relations between emotions and personal and social outcomes. We conclude by considering how functional accounts of emotion vary, including in terms of their level of analysis, specificity, manner of organisation, and range of focus, and the implications functional accounts have for the study of emotion. (shrink)

This article argues that the works of Michel Foucault and Erving Goffman are complementary, specifically in their analyses of disciplinary power. This analysis would be what Foucault calls a ‘micro-physics’ of power. Micro-physics is an important concept even in Foucault’s later lectures, but it remains a sub-discipline of genealogy Foucault himself never pursues. Goffman’s works, which rely upon notions of social performance, personal spaces, and the construction of the self through these, fulfill the conditions of micro-physical analysis (...) well. Using Goffman’s works, I argue that his style of ethnographic analysis helps clarify certain fundamental questions about disciplinary power left unquestioned in Foucault’s works—namely, the ‘internalization of the gaze’ and its ‘spontaneous’ efficiency. I conclude that disciplinary power is not actually a process of internalization at all, but a systematic divestment of the subject’s access to the external processes and spaces on which the production and performance of his ‘self’ depends. (shrink)

Trait emotional intelligence (“trait EI”) concerns our perceptions of our emotional abilities, that is, how good we believe we are in terms of understanding, regulating, and expressing emotions in order to adapt to our environment and maintain well-being. In this article, we present succinct summaries of selected findings from research on (a) the location of trait EI in personality factor space, (b) the biological underpinnings of the construct, (c) indicative applications in the areas of clinical, health, social, (...) educational, organizational, and developmental psychology, and (d) trait EI training. Findings to date suggest that individual differences in trait EI are a consistent predictor of human behavior across the life span. (shrink)

The article explores the potential “healing” role performance art can have when representing disabling trauma, and engaging, as part of the creative process, participants who have experienced in their lives significant trauma and physical, as well as mental health concerns arising from gender violence. It focuses on the show cicatrix macula, performed during the exhibition Speaking Out: Women Healing from the Trauma of Violence (Leicester, 2014). The exhibition involved disabled visual and creative artists, and engaged participants in the process (...) of performance making. It was held at the Attenborough Arts Centre in Leicester (UK), a pioneering arts centre designed to be inclusive and accessible. The show cicatrix macula focused on social, cultural, mental, and physical representations of trauma and disability, using three lacerated life-size puppets to illustrate these depictions. Working under the direction of the audience, two artists attempted to “repair” the bodies. The creative process was a collaborative endeavour: the decision-making process rested with the audience, whose privileged positions of witness and meaning-maker were underscored. Fayard demonstrates the significance of cicatrix macula in debunking ablist gender norms, as well as in highlighting the role played by social and cultural enablers. She calls attention to its potential for mobilizing positive identity politics, including for viewers who had experienced trauma. For example, the environment of the participatory performance space offered some opportunities for the survivor to become the author or arbiter of her own recovery. In addition, the constant physical exchange of bodies within this space of debate was well-suited to the (re)connection with the self and with others. (shrink)

Research on the metaphorical mapping of valenced concepts onto space indicates that positive, neutral, and negative concepts are mapped onto upward, midward, and downward locations, respectively. More recently, this type of research has been tested for the very first time in 3D physical space. The findings corroborate the mapping of valenced concepts onto the vertical space as described above but further show that positive and negative concepts are placed close to and away from the body; neutral concepts are placed (...) midway. The current study aimed at investigating whether valenced perceptual stimuli are positioned onto 3D space akin to the way valenced concepts are positioned. By using a unique device known as the cognition cube, participants placed visual, auditory, tactile and olfactory stimuli on 3D space. The results mimicked the placing of valenced concepts onto 3D space; i.e., positive percepts were placed in upward and close-to-the-body locations and negative percepts were placed in downward and away-from-the-body locations; neutral percepts were placed midway. These pattern of results was more pronounced in the case of visual stimuli, followed by auditory, tactile, and olfactory stimuli. Significance Statement Just recently, a unique device called “the cognition cube” (CC) enabled to find that positive words are mapped onto upward and close-to-the-body locations and negative words are mapped onto downward and away-from-the-body locations; neutral words are placed midway. This way of placing words in relation to the body is consistent with an approach-avoidance effect such that “good” and “bad” things are kept close to and away from one’s body. We demonstrate for the very first time that this same pattern emerges when visual, auditory, tactile, and olfactory perceptual stimuli are placed on 3D physical space. We believe these results are significant in that the CC can be used as a new tool to diagnose emotion-related disorders. (shrink)

We pursue a model-oriented rather than axiomatic approach to the foundations of Quantum Mechanics, with the idea that new models can often suggest new axioms. This approach has often been fruitful in Logic and Theoretical Computer Science. Rather than seeking to construct a simplified toy model, we aim for a 'big toy model', in which both quantum and classical systems can be faithfully represented—as well as, possibly, more exotic kinds of systems. To this end, we show how Chu spaces (...) can be used to represent physical systems of various kinds. In particular, we show how quantum systems can be represented as Chu spaces over the unit interval in such a way that the Chu morphisms correspond exactly to the physically meaningful symmetries of the systems—the unitaries and antiunitaries. In this way we obtain a full and faithful functor from the groupoid of Hubert spaces and their symmetries to Chu spaces. We also consider whether it is possible to use a finite value set rather than the unit interval; we show that three values suffice, while the two standard possibilistic reductions to two values both fail to preserve fullness. (shrink)

Metaverse is to build a virtual world that is both mapped and independent of the real world in cyberspace by using the improvement in the maturity of various digital technologies, such as virtual reality, augmented reality, big data, and 5G, which is important for the future development of a wide variety of professions, including education. The metaverse represents the latest stage of the development of visual immersion technology. Its essence is an online digital space parallel to the real world, which (...) is becoming a practical field for the innovation and development of human society. The most prominent advantage of the English-teaching metaverse is that it can provide an immersive and interactive teaching field for teachers and students, simultaneously meeting the teaching and learning needs of teachers and students in both the physical world and virtual world. This study constructs experiential situational English-teaching scenario and convolutional neural networks –recurrent neural networks fusion models are proposed to recognize students’ emotion electroencephalogram in experiential English teaching during the feature space of time domain, frequency domain, and spatial domain. Analyzing EEG data collected by OpenBCI EEG Electrode Cap Kit from students, experiential English-teaching scenario is designed into three types: sequential guidance, comprehensive exploration, and crowd-creation construction. Experimental data analysis of the three kinds of learning activities shows that metaverse-powered experiential situational English teaching can promote the improvement of students’ sense of interactivity, immersion, and cognition, and the accuracy and analysis time of CNN–RNN fusion model is much higher than that of baselines. This study can provide a nice reference for the emotion recognition of students under COVID-19. (shrink)

My essay discusses the politics of anger from a phenomenological perspective. Philosophers such as Martha Nussbaum have examined the importance of emotions for achieving social justice. In Anger and Forgiveness, Nussbaum criticizes most forms of anger for including the desire to retaliate, but identifies a species of anger, “Transition-Anger,” which can motivate us to respond to wrongdoing. In a similar vein, I claim that anger can help the oppressed respond to their oppression. To defend this claim, I consider cases (...) in which anger motivates a response to racial prejudice. These cases depict situations in which a black man is confronted with the gaze of a white person. By contrasting the phenomenology of skillful and unskillful activity, I explain why the white gaze can provoke a sense of disorientation and physical incapacitation—what I call “bodily alienation”—in the black man. I argue that anger can wrest a black person from this alienation. This is because anger encourages action and provides blacks with insight into their oppression. My argument implies that anger is instrumentally valuable for resisting racism. As such, it can play a positive role in redressing its harms. Yet the cases of anger I describe are tainted with desires for retaliation, and do not map onto the ideal form of Transition-Anger Nussbaum prizes. Still, anger should not be dismissed altogether: if it can transform the experiences of the oppressed for the better, then there is a place for this emotion in combating injustices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Psychological CourageDaniel Putman (bio)AbstractBeginning with Aristotle philosophers have analyzed physical courage and moral courage in great detail. However, philosophy has never addressed the type of courage involved in facing the fears generated by our habits and emotions. This essay introduces the concept of psychological courage and argues that it deserves to be recognized in ethics as a form of courage. I examine three broad areas of psychological problems: (...) destructive habits; irrational anxieties; and psychological servitude in which one individual emotionally controls another. Psychological courage is the strength to confront and work through these problems. Such courage involves facing our deep-seated fear of psychological instability. I conclude that the development of psychological courage is essential to the well-being of many people.Keywordscourage, Aristotle, habits, dependency, rashness, cowardice, anxiety disorders, patienceThe virtue of courage exhibits different forms in human life. Types of courage can be broadly differentiated in terms of the fear which must be faced and the goal to be attained. Two forms of courage have been discussed at some length in the history of ethics. “Physical courage” is characterized by overcoming a fear of death or physical harm. The goals to be achieved by its exercise are traditionally defined by society or by the requirements of survival. The paradigmatic example is Aristotle’s (1987) brave soldier who faces death to defend his city (1115a25–35). Another example would be bravely defending self and family against a threat from nature such as a flood or dangerous carnivore. The second form, “moral courage,” also has some allusions in Aristotle (1115a12–13; 1115b1–2), but Plato’s portrayal of Socrates is in many ways the archetype for moral courage in Western philosophy. While Socrates is also said to have displayed physical courage in defending Athens, it is his fearlessness in defending a deeply held greater moral good against society which has inspired untold numbers of Plato’s readers, from the Stoics to today’s students. 1 In moral courage the major fear is loss of ethical integrity or authenticity, but moral courage is also tied to dealing with social disapproval (Martin 1986, ch. 4; Walton 1986). The person confronting her peer group over a racist joke displays moral courage. In acting courageously the individual maintains moral integrity while at the same time overcoming the fear of being rejected by friends. Other examples abound: the whistle-blower facing ostracism from colleagues for calling attention to injustice in the workplace, or the Quaker or Buddhist protesting against a manufacturer of armaments. Examples of physical and moral courage often overlap. Gandhi (as well as Socrates) exhibited moral courage while facing death, and a soldier in battle may have to deal with peer rejection of his heroic actions. However, the distinction, while imprecise, does speak usefully to quite different forms of courageous experience. [End Page 1]In this paper I want to introduce a third form of courage almost never discussed in the literature. Best called “psychological courage,” it is a form of the virtue which millions of human beings have to possess and exercise on a regular basis. The fear to be faced is not usually that of physical harm, nor is it fear of social ostracism. Nor is loss of moral integrity a major concern. The fear centers around a loss of psychological stability. I speak of the courage it takes to face our irrational fears and anxieties, those passions which, in Spinoza’s terms, hold us in bondage. These can range from habits and compulsions to phobias. Aristotle would have classified many of these under lack of temperance. A drinking habit or an irrational fear of open spaces reflects a lack of proper balance regarding the pleasures of life. But facing and working through these habits or anxieties can involve courage for several reasons. First, to admit the problem is to face the possibility of being stigmatized by society. In this sense psychological courage has some similarities to moral courage. Second, a great deal of pain, physical and psychological, can be involved in confronting the anxiety or changing the habit, and the individual knows this beforehand. Third, and most significant to this form of courage, the stability... (shrink)

This qualitative case study examines early career social studies educators’ knowledge of the role of emotion in teaching and learning. More specifically, we examine how our efforts to expand social studies educators’ understanding of emotion, shifted their perception of the role of emotion in learning social studies content and how they can use this knowledge to plan instruction. Prior to beginning their “emotion education,” all participants described the role of emotion in teaching and learning as important for (...) relationship-building and as something to be carefully managed. They focused their efforts in the classroom on creating a welcoming environment for their students and managing their students’ emotions. Though they described their classrooms as emotional spaces, none had explicitly considered the role of emotion in learning content.As they learned about the role of emotion in cognitive processes like memory and problem-solving, participants began to recognize the need to rethink their pedagogical choices. However, none of the participants embraced or accepted an expanded view of emotions as social and political forces. Reluctant to consider how emotions shape our identities, our communities and our politics, these social studies educators did not meaningfully engage in a critical examination of how social studies curriculum can contribute to “schooling” students’ emotions. Findings from this initial study suggest it is important to engage social studies educators in critical awareness of their own emotions and critical examination of what emotions “do” in the world and how the social studies content we teach can contribute to the “schooling” of our students’ emotions. (shrink)

The idea that some day robots may have emotions has captured the imagination of many and has been dramatized by robots and androids in such famous movies as 2001 Space Odyssey's HAL or Star Trek's Data. By contrast, the editors of this book have assembled a panel of experts in neuroscience and artificial intelligence who have dared to tackle the issue of whether robots can have emotions from a purely scientific point of view. The study of the brain now usefully (...) informs study of the social, communicative, adaptive, regulatory, and experimental aspects of emotion and offers support for the idea that we exploit our own psychological responses in order to feel others' emotions. The contributors show the many ways in which the brain can be analyzed to shed light on emotions. Fear, reward, and punishment provide structuring concepts for a number of investigations. Neurochemistry reveals the ways in which different "neuromodulators" such as serotonin, dopamine, and opioids can affect the emotional valence of the brain. And studies of different regions such as the amygdala and orbitofrontal cortex provide a view of the brain as a network of interacting subsystems. Related studies in artificial intelligence and robotics are discussed and new multi-level architectures are proposed that make it possible for emotions to be implemented. It is now an accepted task in robotics to build robots that perceive human expressions of emotion and can "express" simulated emotions to ease interactions with humans. Looking towards future innovations, some scientists posit roles for emotion with our fellow humans. All of these issues are covered in this timely and stimulating book which is written for researchers and graduated students in neuroscience, cognitive science, psychology, robotics, and artificial intelligence. (shrink)

Our EcoDialogue Center is an educational space for human sustainability within the University of Veracruz. We propose that creating sustainable knowledge requires re-thinking how we conceive ourselves as human beings. This requires paying attention to what we call “the quality of being,” which means caring about and attending to the physical–emotional–mental–spiritual as the foundation of education. This way we can create a space where we can dialogue contemplatively where all dimensions of our lives interact; the physical, the (...) emotional, the communitarian, the social politic, the planetarium, and the spiritual being act with social–environmental responsibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Image of the Performing BodyEric C. Mullis (bio)Elsewhere I have discussed the principles of embodied expression that are developed in the practice of the performance arts—dance and theatre.1 These principles, it was argued, disclose the work that must be done in order to transform the human body into an aesthetically expressive medium. That is, precarious balance, the interplay of oppositional energies, and the compression of energy must be (...) mastered if a performance artist is to overcome the artifice of the stage and develop scenic presence. However, in that essay I said little regarding the manner in which the body acquires these skills and little about the effects that the transformation has on the artist's experience of embodiment. I would like to continue here by discussing how the body is modified in the process of developing the skill sets necessary for performance as well as how this developmental process affects the performer's corporeal experience. More specifically, I will draw on the notions of the body schema and the body image in order to clarify how the body can be transformed into an aesthetically expressive medium. In the first section I discuss the functions of the body image and body schema as well as the nature of their interaction. In the second section I discuss what relevance these concepts have for our understanding of the skill acquisition process. Finally, since the points made in the first two sections can be applied to non-peformative practices (such as sport, yoga, and martial arts) the last section focuses on the performance arts by discussing how the body schema and body image are developed in order to create a space of effective gesture.Body Image and Body SchemaShaun Gallagher argues that "The body image consists of a complex set of intentional states and dispositions—perceptions, beliefs, and attitudes—in [End Page 62] which the intentional object is one's own body."2 That is, there are three kinds of intentional content that constitute the body image—the body percept, the body concept, and the body affect. The image of my body is rooted in sensorimotor and kinesthetic perceptions, specific beliefs about my body, as well as emotions that often arise in response to such beliefs. Perception gives me a sense of the condition of my body at any point in time, while conceptions build upon perceptual content and allow one to understand the nature of one's embodiment. For example, the belief that the body is akin to a machine that can run well, break down, be diagnosed, and repaired is widespread since it is based in a widely accepted philosophy of medicine. That is, the body is often conceived as a thing that must be fixed by those who have the expertise that allows them to understand its intricate systems and processes. This example not only gives us insight into the perceptual and conceptual content of the body image but also demonstrates that beliefs about the body are conditioned by culture. This latter point is also supported by observations regarding the manner in which the body is invested with emotion. For example, some may feel frustrated with their bodies since they do not meet social standards of beauty, while others experience the joys of physical competition and accomplishment that are brought about by participating in widely practiced games. This brief discussion illustrates that the image that one has of one's body is a synthesis of perceptual experience, beliefs about the nature of one's body, and emotional responses.In 1911 Head and Holmes defined the body schema as the postural model of the body.3 In this account, the body schema functions by continually comparing the body's present posture to those held in the immediate past. That is, at the preconscious level, the schema provides a standard against which changes in posture can be judged. It must be stressed that the body schema functions below the surface of consciousness and, unlike the body image, does not include perceptions, attitudes, or beliefs about the body and is consequently not subject to cultural influence. Gallagher notes that the body schema "is a system of sensory-motor... (shrink)

The theory of emotion developed by William James has been subject to four criticisms. First, it is held that Jamesian emotion is without function, that it plays no role in cognition and behavior. Second, that James ignores the role of experience in emotion. Third, that James overstated the role of physical processes in emotion. Fourth, that James’ theory of emotion has been experimentally demonstrated to be false. A fifth point, less an explicit criticism than an assumption, holds that James (...) has nothing to offer a social psychology of emotions. It will be shown in this paper that not one of these criticisms of James' theory of emotion can be sustianed. (shrink)

Facial information is a powerful channel for human-to-human communication. Characteristically, faces can be defined as biological objects that are four-dimensional (4D) patterns, whereby they have concurrently a spatial structure as well as temporal dynamics. The spatial characteristics of facial objects possess three dimensions (3D), namely breadth, height and importantly, depth. The temporal properties of facial objects are defined by how a 3D facial structure evolves dynamically over time; where time is referred to as the fourth dimension (4D). Our entire perspective (...) of another’s face, whether it be social, affective or cognitive perceptions, is therefore built on a combination of 3D and 4D visual cues. Counterintuitively, over the past few decades of experimental research in psychology, facial stimuli have largely been presented to participants as a spatial pattern that has been flattened into two dimensions (2D), while remaining largely static. The following review aims to advance and update facial researchers, on the recent revolution in computer-generated, realistic 4D facial models produced from real-life human subjects. We delve in-depth to summarize recent studies which have utilized facial stimuli that possess 3D structural cues (geometry and depth) and 4D temporal cues (3D structure + dynamic viewpoint and movement). In sum, we have found that higher-order perceptions such as identity, gender, ethnicity, emotion and personality, are critically influenced by the 4D characteristics embedded within natural human faces. In future, it is recommended that facial stimuli incorporate the 4D space-time perspective with the proposed time-resolved methods. (shrink)

The commentaries by Rimé and Scherer underscore and extend many of the central themes discussed in our target article. This response filters the commentaries through the lens of our review article and highlights the core idea that relationships provide a vital context for the types of emotional responding outlined in the commentaries, including the social sharing of emotion as well as the link between emotional competence and physical health.

The specificity of misinformation about Covid-19 which was outspread in the media landscape of Ukrainian society was demonstrated in the article. The authors relying on the basics of postmodern theory within interdisciplinary discourse trace the means of forming misinformation and its influence on changing worldview landmarks of humanity. The authors underline that information in the postmodern conception of Jean Baudrillard is also capable to destroy its own content, communication and social ground. Misinformation about Covid-19 is «a stage setting of (...) communication» since it only creates insight into sense and is outspreaded with different channels with usage of photographic and video materials, emotional headlines and messages. Fake materials which have been outspreaded in online media and social networks are analyzed in the article. The authors found out that fake messages outspreaded in Ukrainian media refer to the following topic. It is stated that the quick expansion of misinformation was facilitated by the fact that the nationals of Ukraine took information without criticism, without fact-checking, since they moved to a new space of life of the individual and made «a stage setting of sense». (shrink)