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This volume fosters a re-imagination of the planet where it is seen not only as a resource, but also as an entity that must not be excluded from the political imperative of care and kinship. The authors go beyond the normative understanding of space by recognizing the potency of touch, where they look at somatic experiences that invite the intensity of affect. This book questions the dominance of the capitalocene through the existence of social aesthetic and records the affective encounters that facilitate the creation of planetary identity, affinity, and entanglements. With discussions on architecture, poetry, rap music, romantic literature, performance art, digital fashion, Instagram, Netflix shows, YouTube videos, moving image practices, eco-sexual movements, and graphic narratives, the chapters in this volume initiate a conversation on what it means to inhabit the world today. An important contribution, this book will be of interest to students and researchers of environmental humanities, planetary humanities, affect studies, digital humanities, and media studies, besides also being of interest to those studying interdisciplinary critical/cultural theory, Television and film studies, philosophy, and architectural theory.
What makes up a public, what governs dominant discourses, and in which ways can counterpublics be created through narrative? This edited collection brings together essays on affect and narrative theory with a focus on the topics of gender and sexuality. It explores the power of narrative in literature, film, art, performance, and mass media, the construction of subjectivities of gender and sexuality, and the role of affect in times of crisis. By combining theoretical, literary, and analytical texts, the contributors offer methodological impulses and reflect on the possibilities and limitations of affect theory in cultural studies.
Affective Materialities reexamines modernist theorizations of the body and opens up the artistic, political, and ethical possibilities at the intersection of affect theory and ecocriticism, two recent directions in literary studies not typically brought into conversation. Modernist creativity, the volume proposes, may return to us notions of the feeling, material body that contemporary scholarship has lost touch with, bodies that suggest alternative relations to others and to the world. Contributors argue that modernist writers frequently bridge the dichotomy between body and world by portraying bodies that merge with or are re-created by their surroundings into an amalgam of self and place. Chapters focus on this treatment of the body through works by canonical modernists including William Carlos Williams, Virginia Woolf, and E. M. Forster alongside lesser-studied writers Janet Frame, Herbert Read, and Nella Larsen. Showing the ways the body in literature can be a lens for understanding the fluidities of race, gender, and sexuality, as well as species and subjectivity, this volume maps the connections among modernist aesthetics, histories of the twentieth-century body, and the concerns of modernism that can also speak to urgent concerns of today.
A systematic examination of emotions and world politics, showing how emotions underpin political agency and collective action after trauma.
According to Rosalind Picard, if we want computers to be genuinely intelligent and to interact naturally with us, we must give computers the ability to recognize, understand, even to have and express emotions. The latest scientific findings indicate that emotions play an essential role in decision making, perception, learning, and more—that is, they influence the very mechanisms of rational thinking. Not only too much, but too little emotion can impair decision making. According to Rosalind Picard, if we want computers to be genuinely intelligent and to interact naturally with us, we must give computers the ability to recognize, understand, even to have and express emotions. Part 1 of this book provides the intellectual framework for affective computing. It includes background on human emotions, requirements for emotionally intelligent computers, applications of affective computing, and moral and social questions raised by the technology. Part 2 discusses the design and construction of affective computers. Although this material is more technical than that in Part 1, the author has kept it less technical than typical scientific publications in order to make it accessible to newcomers. Topics in Part 2 include signal-based representations of emotions, human affect recognition as a pattern recognition and learning problem, recent and ongoing efforts to build models of emotion for synthesizing emotions in computers, and the new application area of affective wearable computers.
In this bold, innovative work, Dorinne Kondo theorizes the racialized structures of inequality that pervade theater and the arts. Grounded in twenty years of fieldwork as dramaturg and playwright, Kondo mobilizes critical race studies, affect theory, psychoanalysis, and dramatic writing to trenchantly analyze theater's work of creativity as theory: acting, writing, dramaturgy. Race-making occurs backstage in the creative process and through economic forces, institutional hierarchies, hiring practices, ideologies of artistic transcendence, and aesthetic form. For audiences, the arts produce racial affect--structurally over-determined ways affect can enhance or diminish life. Upending genre through scholarly interpretation, vivid vignettes, and Kondo's original play, Worldmaking journeys from an initial romance with theater that is shattered by encounters with racism, toward what Kondo calls reparative creativity in the work of minoritarian artists Anna Deavere Smith, David Henry Hwang, and the author herself. Worldmaking performs the potential for the arts to remake worlds, from theater worlds to psychic worlds to worldmaking visions for social transformation.
In The Feeling Body, Giovanna Colombetti takes ideas from the enactive approach developed over the last twenty years in cognitive science and philosophy of mind and applies them for the first time to affective science -- the study of emotions, moods, and feelings. She argues that enactivism entails a view of cognition as not just embodied but also intrinsically affective, and she elaborates on the implications of this claim for the study of emotion in psychology and neuroscience. In the course of her discussion, Colombetti focuses on long-debated issues in affective science, including the notion of basic emotions, the nature of appraisal and its relationship to bodily arousal, the place of bodily feelings in emotion experience, the neurophysiological study of emotion experience, and the bodily nature of our encounters with others. Drawing on enactivist tools such as dynamical systems theory, the notion of the lived body, neurophenomenology, and phenomenological accounts of empathy, Colombetti advances a novel approach to these traditional issues that does justice to their complexity. Doing so, she also expands the enactive approach into a further domain of inquiry, one that has more generally been neglected by the embodied-embedded approach in the philosophy of cognitive science.
This book describes research on the emotional communication between parents and children and its effect on the children's emotional development. Inspired by the work, and dedicated to the memory of Dr. Haim Ginott, it presents the results of initial exploratory work with meta-emotion--feelings about feelings. The initial study of meta-emotion generated some theory and made it possible to propose a research agenda. Clearly replication is necessary, and experiments are needed to test the path analytic models which have been developed from the authors' correlational data. The authors hope that other researchers will find these ideas interesting and stimulating, and will inspire investigation in this exciting new area of a family's emotional life.
“… a diverse and stimulating group of essays that together represents a significant contribution to thinking about the nascent field of contemporary Asian art studies … Contemporary Asian Art and Exhibitions: Connectivities and World-making … brings together essays by significant academics, curators and artist working in Australia, Asia and the United Kingdom that reflect on contemporary art in the Asia-Pacific region, and Australia’s cultural interconnections with Asia. It will be a welcome addition to the body of literature related to these emergent areas of art historical study. ” — Dr Claire Roberts, Senior Lecturer in Art History, University of Adelaide This volume draws together essays by leading art experts observing the dramatic developments in Asian art and exhibitions in the last two decades. The authors explore new regional and global connections and new ways of understanding contemporary Asian art in the twenty-first century. The essays coalesce around four key themes: world-making; intra-Asian regional connections; art’s affective capacity in cross-cultural engagement; and Australia’s cultural connections with Asia. In exploring these themes, the essays adopt a diversity of approaches and encompass art history, art theory, visual culture and museum studies, as well as curatorial and artistic practice. With introductory and concluding essays by editors Michelle Antoinette and Caroline Turner this volume features contributions from key writers on the region and on contemporary art: Patrick D Flores, John Clark, Chaitanya Sambrani, Pat Hoffie, Charles Merewether, Marsha Meskimmon, Francis Maravillas, Oscar Ho, Alison Carroll and Jacqueline Lo. Richly illustrated with artworks by leading contemporary Asian artists, Contemporary Asian Art and Exhibitions: Connectivities and World-making will be essential reading for those interested in recent developments in contemporary Asian art, including students and scholars of art history, Asian studies, museum studies, visual and cultural studies.
The twenty-first century has witnessed a resurgence of economic inequality, racial exclusion, and political hatred, causing questions of collective identity and belonging to assume new urgency. In Making Worlds, Claudia Breger argues that contemporary European cinema provides ways of thinking about and feeling collectivity that can challenge these political trends. Breger offers nuanced readings of major contemporary films such as Michael Haneke’s The White Ribbon, Alejandro González Iñárritu’s Biutiful, Fatih Akın’s The Edge of Heaven, Asghar Farhadi’s A Separation, and Aki Kaurismäki’s refugee trilogy, as well as works by Jean-Luc Godard and Rainer Werner Fassbinder. Through a new model of cinematic worldmaking, Breger examines the ways in which these works produce unexpected and destabilizing affects that invite viewers to imagine new connections among individuals or groups. These films and their depictions of refugees, immigrants, and communities do not simply counter dominant political imaginaries of hate and fear with calls for empathy or solidarity. Instead, they produce layered sensibilities that offer the potential for greater openness to others’ present, past, and future claims. Drawing on the work of Latour, Deleuze, and Rancière, Breger engages questions of genre and realism along with the legacies of cinematic modernism. Offering a rich account of contemporary film, Making Worlds theorizes the cinematic creation of imaginative spaces in order to find new ways of responding to political hatred.