DOCSLIB.ORG

Resisting Self-Censorship Painting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Resisting Self-Censorship Painting NORMALnoise volume 1, issue 3 // winter 2016 2 NORMALnoise the erasure issue 3 Dear reader, A lot has happened since a new issue of Normal Noise has seen the light of day. A year marked by drastic change and by crisis - both for the magazine and, of course, for our metro community, our county, our country, our world - has passed. Never, in my albeit short adult life has such a sense of loss, of disillusionment, of terror, of the erasure issue ecstasy, permeated our public life. The theme of this issue has taken on a new relevance and importance in light of recent events, yet its beginnings Letter(s) from the Editors 5 The Editorial Board are tied to a much smaller trial. In the spring 2016 issue, the Founding Editors included a painting by an ASU Our reflections on erasure art alumna. They saw nothing wrong with the painting. The issue was sent to the printer and six hundred copies The Devil Wears Prada, and Is 8 Hannah Gur-Arie arrived at Barrett. However, a small oversight had been made - one which, normally, would have been incon- Probably A Bit Racist, Too. sequential: the Barrett Dean had not reviewed the issue before it was printed, and he did not like the painting. The Dean’s Office refused to distribute the issue. Chess In Decline 11 Benjamin Shindel We, the new Editorial board, convened in August with a double goal: publish a fall 2016 issue and get the spring The commodification of the chess game issue distributed to the public, painting and all. What followed was a dispute characterized by miscommunica- In Defense of The Diary 14 Carolina Marques de Mesquita tion, mis-scheduled appointments, games of phone tag, and seemingly-opposite opinions with regards to the Resisting self-censorship painting. The Thermodynamics of Erasure 19 Cole Mathis As it turned out, we and the Dean’s Office were playing two different games. There were considerations to be had on an administrative level that had nothing to do with the artistic merit of the piece. After a long and, yes, Loose Lass 22 J.D.A. Scaven and Cecilia Nguyen heated discussion with the Dean, the Associate Dean, and our faculty advisor, we came to an agreement. The issue would be published without the painting, and the Editors agreed to foster transparency and open com- munication with the administration moving forward. Clean, Standoffish, and Slightly Uncomfortable 27 Aitana Yvette Mallarie The aesthetic of nothingness At the height of things, our fight was one against censorship, plain and simple. The theme of this issue, erasure, was born of that fight and our sentiments at that time. While we made a compromise, and one we don’t regret, we stand by the fact that we took the struggle as far as we could in the name of what we perceived to be an act of censorship, an erasure. We hope that struggle is felt throughout this issue. editor-in-chief Evan Anderson The erasure we fought against was resolved peacefully; our Deans showed understanding and compassion features editors Carolina Mesquita for what we stood for and reflected that by their willingness to compromise. Yet, it is hardly ever so simple. Amber Ellison In the coming years, it will be more important than ever to identify voices, lives, identities, realities, systems arts editor Amy Axelrod of thought, that are at risk of being erased, marginalized, destroyed. Beneath the veneer of transparency, free information, and massive communication, there is as much conflict and struggle as there ever was. design editor Kaylie Volpe designers Cecilia Nguyen Evan Anderson, Editor-in-Chief Dempsey Wilken faculty advisor Mina Suk, Ph.D. Normal Noise is a semesterly magazine supported by Barrett, the Honors College at ASU. Each issue provokes conversation about the complexities of everyday life through long-form journalism and art. Normal Noise is student-run. Views expressed in the magazine do not reflect those of the administration. Contact the editors at [email protected]. Like Normal Noise on Facebook and check out our website at normalnoise.wordpress.com. 4 NORMALnoise the erasure issue 5 As Normal Noise negotiated with administration to distribute the Play issue to our readers, our changing aesthetic was brought In “The Bluest Eye”, Toni Morrison writes, “Anger is better. There is a sense of being in anger. A reality and presence. An aware- into question. Look to the archives for our humble beginnings as the Barrett Chronicle, a newsletter written to inform students ness of worth.” Shame, by contrast, is characterized by a lack of self-worth: it arises when one is unable or unwilling to fight back, of happenings around campus. Readers who have joined us for a while know of the next three name changes. However, for the or when one accepts injustice as justified. past three semesters that I have contributed my design work to the magazine, the styles and branding have remained stable and unchanging. Morrison’s reflections on shame and anger followed me when I reread her novel earlier this semester. In October, the Phoe- nix City Council voted to change Columbus Day to Indigenous Peoples’ Day. High school football players across the country Although there are no further name changes in sight, with a new editorial board comes new tastes in style as well as visions for kneeled during the national anthem in protest of police brutality, and I watched with pride as Americans protested the construc- what the publication will bring to the community. As we explore the concept of erasure, one may ask if maturity, an evolution of tion of the Dakota Access Pipeline. At the ASU Clinton rally on November 2, I stood primarily among women of my parents’ identity, is an act of erasure against the past self. I think back to my eighth grade self’s dream of becoming a math teacher when I and grandparents’ generation – women that are frequently ignored not only because of their gender, but because their age often grew up, or even last year when I thought I was destined to be a management guru. Looking back, I laugh at who I thought I was renders them politically and socially irrelevant. and would become. I am not the same person I once was. And Normal Noise is not the same publication that it was at its birth. Regardless of our readers’ political opinion or affiliation, I believe these instances of political activism and civic engagement Despite not loving math the way I once did, and not having the “personality for management,” I know that those experiences would have been impossible had citizens succumbed to shame. Instead, they arose because citizens recognized a “sense of being” have shaped my analytical and detail-oriented personality. Having said this, I can also say that no past iteration goes without in anger: a rediscovery of their voices, an awareness of their own humanity, a desire to resist being silenced into submission. influencing the current publication. Normal Noise is multifaceted, incorporating new ideas and established traditions. The ed- itorial board loves to bring you minimalist aesthetic just as much as obscure theories of thermodynamics. Above all–and this As November progressed, I encountered many people that rolled their eyes at my worries and the worries of my peers. Our rang true with the Barrett Chronicle as well–we love to bring you the many voices of our student body and community at large. preoccupations were unnecessary, overdramatic, exaggerated. Often, I came up against the familiar flush of shame I was so sure So rest assured, dear reader, that although we may not be what we once were, our dedication to provoking intellectual thought I had forgotten. When the Normal Noise editorial board selected erasure as its theme for Fall 2016, we had little idea that its is unchanged. poignancy would only grow as the semester concluded. I once jokingly suggested we profile the 1980s synthpop duo Erasure (incidentally, if this pitch interests anyone, let me know). Yet now more than ever, I am convinced that we are most vulnerable Additionally, Helvetica Neue Bold will stick around as our subheading font of choice. to erasure when shame convinces us we are undeserving of a wish, a desire, or a will: anger, however, is productive, and in the Kaylie Volpe, Design words of Morrison, offers us a “reality and presence.” Like many others, I have trouble conceptualizing this new future. Many have suggested to me that anger toward such ambiguity will make me cynical, but I refuse to recognize and accept such imperious remarks. As we brave this next phase of social, polit- ical, and intellectual uncertainty, I urge that we do so with anger, pride, but no shame. The pages of this issue will remind you On that Tuesday wake, I dry-heaved in a hotel bathroom recently vacated by a congresswoman. Even my hesitations in the final that words are precious. Speak with authority, write with dignity, and feel the anger that will propel you toward progress: it is our days of the election cycle about attending a results watch party hosted by the Arizona Democratic Party (instead of watching only choice. from the comfort of a coffin for one at home) paled in comparison to the reality of the night. It was like an anxiety dream mas- Carolina Marques de Mesquita, Features querading as a rooftop gala. There were catered quinoa chips and a giant screen projecting red, red, red, blue, red. The chair of the ADP’s occasional bellowing interjections (“It’s going to be a long night, everyone! Have a drink!) were followed with a moment of hushed silence and then the bubbling shrill frivolity and panicked laughter.
Load more

Recommended publications
  • The Link Between Drugs and Music Explained by Science 25 January 2018, by Ian Hamilton, Harry Sumnall and Suzi Gage
    The link between drugs and music explained by science 25 January 2018, by Ian Hamilton, Harry Sumnall And Suzi Gage two key compounds in cannabis, tetrahydrocannabinol and cannabidiols, influence the desire for music and its pleasure. Cannabis users reported that they experienced greater pleasure from music when they used cannabis containing cannabidiols than when these compounds were absent. Listening to music – without the influence of drugs – is rewarding, can reduce stress (depending upon the type of music listened to) and improve feelings of belonging to a social group. But research Credit: Henny van Roomen/Shutterstock.com suggests that some drugs change the experience of listening to music. Clinical studies that have administered LSD to For centuries, musicians have used drugs to human volunteers have found that the drug enhance creativity and listeners have used drugs enhances music-evoked emotion, with volunteers to heighten the pleasure created by music. And the more likely to report feelings of wonder, two riff off each other, endlessly. The relationship transcendence, power and tenderness. Brain between drugs and music is also reflected in lyrics imaging studies also suggest that taking LSD while and in the way these lyrics were composed by listening to music, affects a part of the brain leading musicians, some of whom were undoubtedly to an increase in musically inspired complex visual influenced by the copious amounts of heroin, imagery. cocaine and "reefer" they consumed, as their songs sometimes reveal. Pairing music and drugs Acid rock would never have happened without Certain styles of music match the effects of certain LSD, and house music, with its repetitive 4/4 beats, drugs.
    [Show full text]
  • About Emotions There Are 8 Primary Emotions. You Are Born with These
    About Emotions There are 8 primary emotions. You are born with these emotions wired into your brain. That wiring causes your body to react in certain ways and for you to have certain urges when the emotion arises. Here is a list of primary emotions: Eight Primary Emotions Anger: fury, outrage, wrath, irritability, hostility, resentment and violence. Sadness: grief, sorrow, gloom, melancholy, despair, loneliness, and depression. Fear: anxiety, apprehension, nervousness, dread, fright, and panic. Joy: enjoyment, happiness, relief, bliss, delight, pride, thrill, and ecstasy. Interest: acceptance, friendliness, trust, kindness, affection, love, and devotion. Surprise: shock, astonishment, amazement, astound, and wonder. Disgust: contempt, disdain, scorn, aversion, distaste, and revulsion. Shame: guilt, embarrassment, chagrin, remorse, regret, and contrition. All other emotions are made up by combining these basic 8 emotions. Sometimes we have secondary emotions, an emotional reaction to an emotion. We learn these. Some examples of these are: o Feeling shame when you get angry. o Feeling angry when you have a shame response (e.g., hurt feelings). o Feeling fear when you get angry (maybe you’ve been punished for anger). There are many more. These are NOT wired into our bodies and brains, but are learned from our families, our culture, and others. When you have a secondary emotion, the key is to figure out what the primary emotion, the feeling at the root of your reaction is, so that you can take an action that is most helpful. .
    [Show full text]
  • Photography As Metaphor and Material Object in Victorian Culture
    "MIRROR WITH A MEMORY": PHOTOGRAPHY AS METAPHOR AND MATERIAL OBJECT IN VICTORIAN CULTURE Sarah Worman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Piya Pal-Lapinski, Advisor Kim Coates © 2017 Sarah Worman All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor In the Victorian period, photography was associated with the ghosts of history, con artists in the streets of London, and cultural anxieties about the future of Victorian society. The Victorian practice of photographing ghosts, or spirit photography, showed how Victorians viewed the past, present, and future. By examining the cultural artifact of Georgiana Houghton’s Chronicles of the Photographs of Spiritual Beings (1882), it becomes clear how photography affected Victorian literature as well as Victorian culture. In the short stories, “Oke of Okehurst” (1886) and “A Wicked Voice” (1887), Vernon Lee compared Victorian produced art to art from history. For Lee, the fast paced and highly commercialized art, which was influenced by photography, was not as powerful as art with historical context. An earlier work, Thomas Hardy’s A Laodicean: A Story of To-Day (1881), also showed the connections between photography, history, and uncertainty. The characters try to use photography to try and preserve a crumbling medieval castle, but their attempts end in failure. While technology like telegraphs gives Paula a sense of power, the novel leaves her wishing she had a more stable connection to the past and the future. These examples of Victorian literature show that photography affected Victorian culture at a deeper level than previously thought.
    [Show full text]
  • MDMA and Sexual Behavior
    Note: This is a pre-copy-editing, author-produced PDF of an article accepted for publication in Substance Use & Misuse following peer review. The definitive publisher-authenticated version [McElrath K (2005) MDMA and sexual behavior: ecstasy users’ perceptions about sexuality and sexual risk, Substance Use & Misuse, 40:9, 1461-1477] is available online at http://www.informaworld.com/smpp/title~db=all~content=g714012467 MDMA and Sexual Behavior: Ecstasy Users’ Perceptions About Sexuality and Sexual Risk KAREN MCELRATH School of Sociology and Social Policy, Belfast, Ireland Published in Substance Use & Misuse,(2005) 40:9,1461—1477 This study examines the relationship between MDMA (Ecstasy), sexual behavior, and sexual risk taking. The sample consisted of 98 current and former users of MDMA. Several strategies were utilized to recruit respondents and data were collected through in-depth interviews during 1997 and 1998. The majority of respondents had used MDMA during the 6-month period prior to the interview and a large percentage had consumed the drug on 100 occasions or more. Most respondents reported feelings of emotional closeness while consuming MDMA but without the desire for penetrative sex. Others, however, reported that MDMA increased sexual arousal and some respondents (in particular gay and bisexual females) had used MDMA specifically for sexual enhancement. Sexual risk taking (e.g., having multiple partners, engaging in sex without a condom) was prevalent among respondents who did engage in sexual activity during MDMA episodes. Explanations for the findings are offered and implications for prevention/intervention are discussed. Keywords MDMA; ecstasy; sexual behavior Introduction Although a patent for 3,4-methylenedioxymethamphetamine (MDMA) was issued in 1914 (Shulgin, 1986), “recreational”a use of the drug did not surface until the 1970s and 1980s, and for the most part was restricted to selected regions in the U.S.
    [Show full text]
  • Eotm the Agony and the Ecstasy
    EYE ON THE MARKET SPECIAL EDITION THE & agTHE ny ecst sy THE RISKS AND REWARDS OF A CONCENTRATED StOCK POSITION The Agony and the Ecstasy is a 1961 biographical novel by American author Irving Stone on the life of Michelangelo: his passion, intensity and perseverance as he created some of the greatest works of the Renaissance period. Like Michelangelo’s paintings and sculptures, successful businesses are the by-product of inspiration, hard work, and no small amount of genius. And like the works of the Great Masters, only a small minority stand the test of time and last over the long run. The Agony and the Ecstasy conveys the disparate outcomes facing concentrated holders of individual stocks in a world, like Michelangelo’s, that is beset with intrigue, unforeseen risks, intense competition and uncertainty. EYE ON THE MARKET • J.P. MORGAN Eye on the Market J.P. MORGAN The Agony and the Ecstasy: The Risks and Rewards of a Concentrated Stock Position Executive Summary There are many Horatio Alger stories in the corporate world in which an entrepreneur or CEO has the right idea at the right time and executes brilliantly on a business plan. But history also shows that forces both within and outside management control led many of their businesses to suffer serious reversals of fortune. As a result, many individuals are known not just for the wealth they created through a concentrated position, but also for the decision they made to sell, hedge or otherwise take some chips off the table. In this paper, we take a look at the long history of individual stocks, and at the risks and rewards of concentration.
    [Show full text]
  • 25 Positive Emotions in Human-Product Interactions
    ORIGINAL ARTICLE Faces of Product Pleasure: 25 Positive Emotions in Human-Product Interactions Pieter M. A. Desmet Delft University of Technology, Faculty of Industrial Design Engineering, Delft, The Netherlands The study of user emotions is hindered by the absence of a clear overview of what positive emotions can be experienced in human- product interactions. Existing typologies are either too concise or too comprehensive, including less than five or hundreds of positive emotions, respectively. To overcome this hindrance, this paper introduces a basic set of 25 positive emotion types that represent the general repertoire of positive human emotions. The set was developed with a componential analysis of 150 positive emotion words. A questionnaire study that explored how and when each of the 25 emotions are experienced in human-product interactions resulted in a collection of 729 example cases. On the basis of these cases, six main sources of positive emotions in human-product interactions are proposed. By providing a fine-grained yet concise vocabulary of positive emotions that people can experience in response to product design, the typology aims to facilitate both research and design activities. The implications and limitations of the set are discussed, and some future research steps are proposed. Keywords – Emotion-Driven Design, Positive Emotions, Questionnaire Research. Relevance to Design Practice – Positive emotions differ both in how they are evoked and in how they influence usage behaviour. Designers can use the set of 25 positive emotions to develop their emotional granularity and to specify design intentions in terms of emotional impact. Citation: Desmet, P. M. A. (2012). Faces of product pleasure: 25 positive emotions in human-product interactions.
    [Show full text]
  • “Beauty Is How You Feel Inside”: Aesthetic Judgements Are Related to Emotional Responses to Contemporary Music
    This is a repository copy of “Beauty is how you feel inside”: Aesthetic judgements are related to emotional responses to contemporary music. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/166417/ Version: Accepted Version Article: Egermann, Hauke orcid.org/0000-0001-7014-7989 and Reuben, Federico orcid.org/0000- 0003-1330-7346 (2020) “Beauty is how you feel inside”: Aesthetic judgements are related to emotional responses to contemporary music. Frontiers in Psychology. 510029. ISSN 1664-1078 https://doi.org/10.3389/fpsyg.2020.510029 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Beauty is how you feel inside 1 Accepted Author Version to appear in Frontiers in Psychology, Emotion Sciences. doi: 2 10.3389/fpsyg.2020.510029 3 4 5 6 7 8 “Beauty is how you feel inside”: Aesthetic judgements are related to emotional 9 responses to contemporary music 10 11 Hauke Egermann & Federico Reuben 12 13 14 York Music Psychology Group, Music Science and Technology Research Cluster 15 Department of Music 16 University of York 17 United Kingdom 18 19 20 1 Beauty is how you feel inside 1 Abstract 2 While it has extensively been argued that aesthetic categories such as beauty have a 3 direct relationship to emotion, there has only been limited psychological research on the 4 relationship between aesthetic judgements and emotional responses to art.
    [Show full text]
  • The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
    BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands [email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany [email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway [email protected] Abstract: Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes.
    [Show full text]
  • Facing the Sublime: Physiological Correlates of the Relationship Between Fear and the Sublime
    Running head: EXPLORING THE SUBLIME AS DELIGHTFUL HORROR 1 Facing the Sublime: physiological correlates of the relationship between fear and the sublime Young-Jin Hur, Gernot Gerger, Helmut Leder, and I. Chris McManus University College London and University of Vienna Author Note Young-Jin Hur, Department of Clinical, Educational and Health Psychology, University College London, UK. Gernot Gerger, Department of Basic Psychological Research and Research Methods, University of Vienna, Austria & Department of Psychology, Webster Vienna Private University, Vienna, Austria. Helmut Leder, Department of Basic Psychological Research and Research Methods, University of Vienna, Austria. I. Chris McManus, Department of Clinical, Educational and Health Psychology & Research Department for Medical Education (RDME), University College London, UK. Corresponding Author: Young-Jin Hur, 26 Bedford Way, London, UK, WC1H 0DS. Email: [email protected]. Tel: +44 (0)7715448313. EXPLORING THE SUBLIME AS DELIGHTFUL HORROR 2 Abstract The sublime is an enduring concept in Western aesthetic discourse, and is often portrayed such as in Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful of 1759 as a delightful horror, a kind of enjoyment based on negative emotions. In the current paper, the relationship between sublimity and fear was explored using behavioral and physiological measures. In two studies, photographs of nature were selected, rated on sublimity, beauty, fear, happiness, and arousal, before being assessed against facial muscle movement (fEMG) and skin conductance (SCR). In line with philosophical theories, ratings of sublimity showed positive associations with subjective fear ratings (Study 1 & Study 2). At the same time looking at facial EMG data (Study 2) sublimity was associated with a decrease of corrugator supercilli (frowning) reactions, indicating reduced emotional negativity.
    [Show full text]
  • Symbolism of Surface and Depth in Edvard
    MARJA LAHELMA want life and its terrible depths, its bottomless abyss. to hold on to the ideal, and the other that is at the same Lure of the Abyss: – Stanisław Przybyszewski1 time ripping it apart. This article reflects on this more general issue through Symbolist artists sought unity in the Romantic spirit analysis and discussion of a specific work of art, the paint- Symbolism of Ibut at the same time they were often painfully aware of the ing Vision (1892) by Edvard Munch. This unconventional impossibility of attaining it by means of a material work of self-portrait represents a distorted human head floating in art. Their aesthetic thinking has typically been associated water. Peacefully gliding above it is a white swan – a motif Surface and with an idealistic perspective that separates existence into that is laden with symbolism alluding to the mysteries of two levels: the world of appearances and the truly existing life and death, beauty, grace, truth, divinity, and poetry. The Depth in Edvard realm that is either beyond the visible world or completely swan clearly embodies something that is pure and beautiful separated from it. The most important aim of Symbolist art as opposed to the hideousness of the disintegrating head. would then be to establish a direct contact with the immate- The head separated from the body may be seen as a refer- Munch’s Vision rial and immutable realm of the spirit. However, in addition ence to a dualistic vision of man, and an attempt to separate to this idealistic tendency, the culture of the fin-de-siècle the immaterial part, the soul or the spirit, from the material (1892) also contained a disintegrating penchant which found body.
    [Show full text]
  • Augmenting Aesthetic Chills Using a Wearable Prosthesis Improves Their Downstream Efects on Reward and Social Cognition A
    www.nature.com/scientificreports OPEN Augmenting aesthetic chills using a wearable prosthesis improves their downstream efects on reward and social cognition A. J. H. Haar1,3*, A. Jain1,3, F. Schoeller1,2,3 & P. Maes1 Previous studies on aesthetic chills (i.e., psychogenic shivers) demonstrate their positive efects on stress, pleasure, and social cognition. We tested whether we could artifcially enhance this emotion and its downstream efects by intervening on its somatic markers using wearable technology. We built a device generating cold and vibrotactile sensations down the spine of subjects in temporal conjunction with a chill-eliciting audiovisual stimulus, enhancing the somatosensation of cold underlying aesthetic chills. Results suggest that participants wearing the device experienced signifcantly more chills, and chills of greater intensity. Further, these subjects reported sharing the feelings expressed in the stimulus to a greater degree, and felt more pleasure during the experience. These preliminary results demonstrate that emotion prosthetics and somatosensory interfaces ofer new possibilities of modulating human emotions from the bottom-up (body to mind). Future challenges will include testing the device on a larger sample and diversifying the type of stimuli to account for negatively valenced chills and intercultural diferences. Interoceptive technologies ofer a new paradigm for afective neuroscience, allowing controlled intervention on conscious feelings and their downstream efects on higher-order cognition. Body perception plays a critical role in making emotional signals accessible to consciousness through feelings and their associated embodied efects1–3. Internal representations of the external world are actively mediated by physical feelings from within the body (i.e., interoception). Te theory of embodied predictive coding suggests that feelings indicate a process of continually updating self-generated predictions about the probable causes of sensory input 4–6.
    [Show full text]
  • Intellectual Emotions and Religious Emotions
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Asbury Theological Seminary Faith and Philosophy: Journal of the Society of Christian Philosophers Volume 28 Issue 1 Article 9 1-1-2011 Intellectual Emotions and Religious Emotions Peter Goldie Follow this and additional works at: https://place.asburyseminary.edu/faithandphilosophy Recommended Citation Goldie, Peter (2011) "Intellectual Emotions and Religious Emotions," Faith and Philosophy: Journal of the Society of Christian Philosophers: Vol. 28 : Iss. 1 , Article 9. Available at: https://place.asburyseminary.edu/faithandphilosophy/vol28/iss1/9 This Article is brought to you for free and open access by the Journals at ePLACE: preserving, learning, and creative exchange. It has been accepted for inclusion in Faith and Philosophy: Journal of the Society of Christian Philosophers by an authorized editor of ePLACE: preserving, learning, and creative exchange. INTELLECTUAL EMOTIONS AND RELIGIOUS EMOTIONS Peter Goldie What is the best model of emotion if we are to reach a good understanding of the role of emotion in religious life? I begin by setting out a simple model of emotion, based on a paradigm emotional experience of fear of an immedi- ate threat in one’s environment. I argue that the simple model neglects many of the complexities of our emotional lives, including in particular the com- plexities that one finds with the intellectual emotions. I then discuss how our dispositions to have these kinds of emotions, which are part of what it is to be a virtuous intellectual enquirer, are subject to vicissitudes, in particular brought about by depression, apathy and other damaging changes to our psychic economy.
    [Show full text]