What Can an Affect Do? Notes on the Spinozist-Deleuzean Account«
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Training's Ability to Improve Other Race Individuation
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2013 Recognizing the Other: Training's Ability to Improve Other Race Individuation W. Grady Rose Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Psychology Commons, and the Race and Ethnicity Commons Recommended Citation Rose, W. Grady, "Recognizing the Other: Training's Ability to Improve Other Race Individuation" (2013). Electronic Theses and Dissertations. 47. https://digitalcommons.georgiasouthern.edu/etd/47 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Running head: RECOGNIZING THE OTHER 1 RECOGNIZING THE OTHER: TRAINING’S ABILITY TO IMPROVE OTHER RACE INDIVIDUATION by W. GRADY ROSE (Under the Direction of Amy Hackney, Ph. D.) ABSTRACT Members of one race or ethnicity are less able to individuate members of another race compared to their own race peers. This phenomenon is known as the other race effect (ORE) or the cross race effect (CRE). Not only are individuals less able to identify members of the other race but they are also more likely to pick those individuals out of a crowd. The categorization- individuation model predicts that this deficit arises from a lack of motivated individuation; in which members of the other race are remembered at the category level as a prototype while own race members are remembered by name with individual characteristics. -
Collective Expression a Radical Pragmatics
_____________________________ Collective Expression A Radical Pragmatics Brian Massumi Department of Communication, University of Montreal _____________________________ Now it is undeniably conceivable that a beginningless series of successive utterers should all do their work in a brief interval of time, and that so should an endless series of interpreters. Still, it is not likely to be denied that, in some cases, neither the series of utterers nor that of interpreters forms an infinite collection. When this is the case, there must be a sign without an utterer and a sign without an interpreter. ... Neither an utterer, nor even, perhaps, an interpreter is essential to a sign. … I am led to inquire whether there be not some ingredient of the utterer and some ingredient of the interpreter which not only are so essential, but are even more characteristic of signs than the utterer or interpreter themselves. – C.S. Peirce (1998: 403-404) A Technique 1. Choose a generative text. 2. Choose a minor concept weaving through the generative text. 3. Ask each person in the group to count off as a 1 or a 2. 4. Instruct the 1s that they are “posts.” 5. Instruct the 2s that they are “flows.” 6. Ask the posts to find a post: a spot in the room where they would like to have a conservation. 7. Ask the flows to pair up with a post. 8. Direct everyone to a page in the text where the minor concept occurs. Brian Massumi. “Collective Expression: A Radical Pragmatics.” Inflexions 8, “Radical 59 Pedagogies” (April 2015). 59-88. www.inflexions.org 9. -
Affect, Trust, and Dignity: Ontological Possibilities and Material Consequences for a Philosophy of Educational Resonance Walter Gershon Kent State University
Walter Gershon 461 Affect, Trust, and Dignity: Ontological Possibilities and Material Consequences for a Philosophy of Educational Resonance Walter Gershon Kent State University INTRODUCTION This essay articulates a philosophy of resonance in education, from some of its theoretical possibilities through their material consequences. Contemporary under- standings in educational philosophy have a tendency to utilize ocular metaphors, epistemological constructions that provide frames for seeing the world. There are at least the following three difficulties with such a reliance on the ocular. First, they are easily interrupted by nonocular metaphors. While this may seem to be a rather surface concern, it points to a deep philosophical set of problems. For example, what happens when the augenblick, a construct around which much philosophizing has been accomplished, is pressed slightly to become a “blink of an ear”?1 This move not only questions the veracity of ocular-centric constructions from blinks to texts — for what does it say about an idea if it falls apart by shifting senses — but it also presses at the feasibility of framing, its inherently bounded nature as well as the large number of possibilities excluded by its gaze. Second, the sonic provides another avenue for wonder. Sound is omnipresent and questions of hearing or listening are as much about physical anatomy as they concern sociocultural constructs about what sounds can mean. Unlike sight that is necessarily directional and constantly interrupted (for example, by blinking), sound is omnidirectional, creating a context in which focus requires a particular kind of attentive filtering rather than a reframing or panning directionality. Finally, sound is and always has been. -
Manning What Things Do When They Shape Each Other
Erin Manning WHAT THINGS DO WHEN THEY SHAPE EACH OTHER The Way of the Anarchive In order to discover some of the major categories under which we can classify the infinitely various components of experience, we must appeal to evidence relating to every variety of occasion. Nothing can be omitted, experience drunk and experience sober, experience sleeping and experience waking, experience drowsy and experience wide-awake, experience self- conscious and experience self-forgetful, experience intellectual and experience physical; experience religious and experience sceptical, experience anxious and experience care-free, experience anticipatory and experience retrospective, experience happy and experience grieving, experience dominated by emotion and experience under self-restraint, experience in the light and experience in the dark, experience normal and experience abnormal (Whitehead 1967: 222) Bolder adventure is needed - the adventure of ideas, and the adventure of practice conforming itself to ideas (Whitehead 1967: 259) 1. METHOD "Every method is a happy simplification," writes Whitehead (1967: 221). The thing is, all accounting of experience travels through simplification - every conscious thought, but also, in a more minor sense, every tending toward a capture of attention, every gesture subtracted from the infinity of potential. And so a double-bind presents itself for those of us moved by the force of potential, of the processual, of the in-act. How to reconcile the freshness, as Whitehead might say, of processes underway with the weight of experience captured? How to reconcile force and form? This was the challenge SenseLab (www.senselab.ca) gave itself when we decided, a few years ago, to develop a concept we call "the anarchive." For us, the concept was initially an attempt to reconsider the role documentation plays in the context of the event. -
Thought in the Act: Passages in the Ecology of Experience Pdf Free
THOUGHT IN THE ACT: PASSAGES IN THE ECOLOGY OF EXPERIENCE PDF, EPUB, EBOOK Erin Manning,Brian Massumi | 224 pages | 01 May 2014 | University of Minnesota Press | 9780816679676 | English | Minnesota, United States Thought in the Act: Passages in the Ecology of Experience PDF Book Want to Read Currently Reading Read. Sign in. Greg marked it as to-read Jan 19, To paint: a thinking through color. Lisa Banu rated it it was amazing Dec 18, N Filbert rated it it was amazing Sep 09, Manning and Massumi, however, depart from the vast scope of their predecessors, limiting their sources to a narrow range, predominantly William James and Alfred North Whitehead, engaged as much for their poetics as for their ideas. Explores the intimate connections between thinking and creative practice. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. This book feels very timely. Thanks for telling us about the problem. Average rating 4. Kate rated it really liked it Aug 09, Daniella rated it it was amazing Feb 04, We have a verbal travel through the experience of receiving their work, experiencing their re-configuration of spaces and intervention into the physicality of our lives. Keywords: philosophy of art , process philosophy , art and activism , political philosophy , neurodiversity , embodied cognition , art-based research. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. Search Site only in current section. -
Affect Theory As a Methodology for Design
Affect Theory as a Methodology for Design Author Nandita Baxi Sheth & Kristopher Holland University of Cincinnati, College of Design, Architecture, Art, and Planning In Ordinary Affects (2010), Katherine Stewart, writes, Affect is the commonplace, labor-intensive process of sensing modes of living as they come into being. It hums with the background noise of obstinacies and promises, ruts and disorientations, intensities and resting points. It stretches across real and imaginary social fields and sediments, linking some kind of everything (p. 340). ‘Linking some kind of everything’, affects are intensities, resonances, force fields that exist and travel in in between bodies and spaces. Affect shines a light on what happens in that unknowable space that is the gap between an event and its cognitive signification. These embodied intensities occur through the automatic functions of our bodies--the membrane of the skin, the beating of the heart, and the rhythm of the breath (Massumi, 2002, p. 26). Imaginative Interlude: Imagine if you will an experience of awe or wonder—such as the much clichéd sunset on the beach. The salty smell in the air. The changing temperature of the skin as the sun’s warmth dissipates The ever so gradual color changes in the sky The liquid melding of sky and sea at the horizon line The rhythmic sounds of moving water There is gap, fractions of second, between the body’s experience of this event and the application of language to label that experience. Thinking about this gap- between experience itself and representation of that experience is the space of inquiry that is explored by Affect Theory. -
Understanding Affective Engagement As a Resource in Interaction Design
UNDERSTANDING AFFECTIVE ENGAGEMENT AS A RESOURCE IN INTERACTION DESIGN BY JONAS FRITSCH CENTER FOR DIGITAL URBAN LIVING DEPARTMENT OF INFORMATION AND MEDIA STUDIES AARHUS UNIVERSITY TEL: +45 89429282 [email protected] This paper proposes affective engagement as a an understanding of the relationship between humans and digital technology (1997). Winograd argues that this possible resource when designing interactive change is necessary since people are living with the environments. The notion of affect and affective technologies in what he terms “interspaces” (1997, p, experience as developed by Brian Massumi in 161). This calls for a design practice based on a dynamic understanding of the developments in digital cultural theory is presented as a theoretical possibilities, human needs, and situated social as well as foundation for conceptualizing experience in physical contexts (Thackara 2001). Consequently, interaction design. In particular, it is shown how interaction design needs to continually revise and develop new theoretical, analytical and practical tools Massumi provides a non-informational contributing to broaden the understanding of the world understanding of affect as distinct from emotions. and the people the design is aimed for. Traditionally based on a theoretical foundation from Instead, Massumi offers a processual and relational cognitive psychology and the work setting as a starting account of affective experience as a part of point for the design practice, interaction design is today dynamic events of becoming. Through an analysis experimenting with new theoretical foundations and interaction forms uncovering new contexts of use to be of the interactive installation Touched Echoes, the explored and designed for (Dourish 2001, McCarthy & concept of affective engagement is introduced to Wright 2004). -
Augmented Reality Art and Proprioception: Towards a Theoretical Framework
Augmented Reality Art and Proprioception: Towards a Theoretical Framework Ksenia Fedorova University of California Davis USA/RU [email protected] Abstract allowing them to see alternative interpretations. The poten- Augmented reality (AR) technologies illustrate the paradoxes and tial endlessness of the layers of imaginary figures could be promises of the mechanisms of identification, simulation, and considered an illustration of Jean-François Lyotard's idea imagining that increasingly impact lives and experiences of a of the intrinsic "density" and "thickness" of the visual im- contemporary human. Augmentation implies a layer of infor- age, and so of our sensorium in general. The proposed mation (visual, textual, auditory) that can be called to appear or means of fidelity – 3D images inserted in real time within a disappear on the user's screen and correlate to the objects or situa- certain localized frame – may in the end not be as convinc- tion in actual environment. In what follows, I focus on the theo- ing as they are believed to be (e.g., because of the framing retical framework that informs the aesthetics, working principles itself). Yet this technology furthers the conversation about and critical potential of AR-based artistic projects. I will discuss the ontological (and aesthetic) status of the virtual image, the specific mechanisms AR projects use to explore the effects of its effects and affects, a discussion that has been recently appearing and disappearing, relations of interiority and exteriori- hyper-activated by the advent of Oculus Rift VR., et. al. ty, the visible and the tactile, particularly in their relation to the Duplication of reality through adding another, imaginary feeling of proprioception. -
The Philosophy of Movement: Using Affect Theory and Existentialism to Negotiate Difference Online
The Philosophy of Movement: Using Affect Theory and Existentialism to Negotiate Difference Online by Kara Wai-Fong Au A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Digital Humanities University of Alberta c Kara Wai-Fong Au, 2018 Abstract The design of comment systems on social media and news websites such as YouTube, Facebook, and Twitter are not made to promote critical discussions or find the source of political conflict. The integration of digital tools like social media to enact politics online and the shift to identity-based politics further complicates the political space. The speed at which digital communication occurs and the rate at which online news is released places stress on the ability to pause and think about critical and sensitive issues like death. This paper introduces a new theory called the philosophy of movement. It will explain how adopting this philosophy will help the user be a more effective and affective communicator of political issues. The philosophy of movement incorporates affect theory, existentialism, and conflict resolution to produce an actionable and theoretical model to understand and respond to political difference in the digital space. In the philosophy of movement through existential authenticity the individual is faced with the ambiguity of reality and the multitude of contending truths. They are able to negotiate through this conflict by accepting ambiguity, but empowered to act in spite of not knowing through their affective potential, the ability to affect and be affected in the public space and make an impact in the field of relation. -
L'abecedaire De Gilles Deleuze, Avec Claire Parnet
1 L'Abécédaire de Gilles Deleuze, avec Claire Parnet Directed by Pierre-André Boutang (1996) Translation & Notes: Charles J. Stivale Credits (shown at the end of each tape): Conversation: Claire Parnet Direction: Pierre-André Boutang, Michel Pamart Image: Alain Thiollet Sound: Jean Maini Editing: Nedjma Scialom Sound Mix: Vianney Aubé, Rémi Stengel Images from Vincennes: Marielle Burkhalter --------------------------------------------------------------------------- Translated and edited by Charles J. Stivale --------------------------------------------------------------------------- Prelude \1 A short description of the trailer and then of the interview "set" is quite useful: the black and white trailer over which the title, then the director’s credit are shown, depicts Deleuze lecturing to a crowded, smoky seminar, his voice barely audible over the musical accompaniment. The subtitle, “Université de Vincennes, 1980,” appears briefly at the lower right, and Deleuze’s desk is packed with tape recorders. A second shot is a close-up of Deleuze chatting with the students seated closest to him. Then another shot shows students in the seminar listening intently, most of them (including a young Claire Parnet in profile) smoking cigarettes. The final shot again shows Deleuze lecturing from his desk at the front of the seminar room, gesticulating as he speaks. The final gesture shows him placing his hand over his chin in a freeze-frame, punctuating the point he has just made. As for the setting in Deleuze’s apartment during the interview, the viewer sees Deleuze seated in front of a sideboard over which hangs a mirror, and opposite him sits Parnet, smoking constantly throughout. On the dresser to the right of the mirror is his trademark hat perched on a hook. -
Playing on the Plane of Immanence (DIGAREC Series
Serjoscha Wiemer Playing on the Plane of Immanence Notes on the Resonance between Body and Image in Music Video Games In recent years computer games have been discussed by a vari- ety of disciplines from various perspectives. A fundamental dif- ference with other media, which is a point of continuous consid- eration, is the specific relationship between the viewer and the image, the player and the game apparatus, which is a character- istic of video games as a dispositive. Terms such as immersion, participation, interactivity, or ergodic are an indication of the deep interest in this constellation. This paper explores the reso- nance between body and image in video games like REZ, SOUL CALIBUR and DANCE DANCE REVOLUTION from the perspec- tive of a temporal ontology of the image, taking particular ac- count of the structuring power of the interface and its subject positioning aspects. The constitutive relationship between human players and non-hu- man elements of the gaming situation has been described in the past in different ways, as a logical relation, for example, or as a spatial structure or configurational practice. But too little attention has been given to the temporal nature of this relationship. We are all familiar with the concept of real-time, which points heavily to the relevance of this topic. It is an important but, in my view, still insufficient tem- poral category for describing the broad range and fundamental func- tion of temporal structures that define the player-image relations in video games. This question of the temporality of video games is a key aspect that I will address with reference to the temporal constitution of the video image itself. -
An Introduction to Philosophy
An Introduction to Philosophy W. Russ Payne Bellevue College Copyright (cc by nc 4.0) 2015 W. Russ Payne Permission is granted to copy, distribute and/or modify this document with attribution under the terms of Creative Commons: Attribution Noncommercial 4.0 International or any later version of this license. A copy of the license is found at http://creativecommons.org/licenses/by-nc/4.0/ 1 Contents Introduction ………………………………………………. 3 Chapter 1: What Philosophy Is ………………………….. 5 Chapter 2: How to do Philosophy ………………….……. 11 Chapter 3: Ancient Philosophy ………………….………. 23 Chapter 4: Rationalism ………….………………….……. 38 Chapter 5: Empiricism …………………………………… 50 Chapter 6: Philosophy of Science ………………….…..… 58 Chapter 7: Philosophy of Mind …………………….……. 72 Chapter 8: Love and Happiness …………………….……. 79 Chapter 9: Meta Ethics …………………………………… 94 Chapter 10: Right Action ……………………...…………. 108 Chapter 11: Social Justice …………………………...…… 120 2 Introduction The goal of this text is to present philosophy to newcomers as a living discipline with historical roots. While a few early chapters are historically organized, my goal in the historical chapters is to trace a developmental progression of thought that introduces basic philosophical methods and frames issues that remain relevant today. Later chapters are topically organized. These include philosophy of science and philosophy of mind, areas where philosophy has shown dramatic recent progress. This text concludes with four chapters on ethics, broadly construed. I cover traditional theories of right action in the third of these. Students are first invited first to think about what is good for themselves and their relationships in a chapter of love and happiness. Next a few meta-ethical issues are considered; namely, whether they are moral truths and if so what makes them so.