A descriptive phenomenological approach to perception of affective quality in design inspiration

2022 ◽  
Vol 78 ◽  
pp. 101072
Author(s):  
Vimalkrishnan Rangarajan ◽  
Prasad S. Onkar ◽  
Alison De Kruiff ◽  
Deirdre Barron
Keyword(s):  
Phenomenological Approach ◽  
Affective Quality ◽  
Design Inspiration

Investigating Personality and Psychopathology in Patients With Psoriasis

2017 ◽  
Vol 38 (2) ◽  
pp. 87-107 ◽  
Author(s):  
Chiara Vari ◽  
Patrizia Velotti ◽  
Alessandro Crisi ◽  
Silvana Carlesimo ◽  
Antonio G. Richetta ◽  
...  
Keyword(s):  
Skin Diseases ◽  
Clinical Importance ◽  
Self Report ◽  
Psychological Issues ◽  
Self Evaluation ◽  
Affective Quality ◽  
Millon Clinical Multiaxial Inventory ◽  
Study Results ◽  
Completion Test ◽  
Skin Conditions

Abstract. A broad range of literature reported higher rates of psychopathology and personality disorders among patients affected by skin conditions. Specifically, depression, anxiety, and suicidal ideations are more frequently reported by patients affected by skin diseases. This study aimed to examine psychopathology and personality in a group of patients affected by psoriasis by means of a self-report measure (Millon Clinical Multiaxial Inventory – MCMI-III) and a performance-based technique (Wartegg Drawing Completion Test [WDCT], CWS). Study results showed a higher rate of passive-aggressiveness and paranoia among psoriatic patients (MCMI-III). When assessing patients through the performance-based technique (WDCT, CWS), a higher rate of global rejection (GR) – linked by previous literature to suicidal ideation – and a lower affective quality of the drawings emerged. We discuss the clinical importance of detecting psychological issues in dermatology patients by means of a multimethod assessment that goes beyond patients’ self-evaluation of their symptoms and emotions.

Psychological outcomes of addiction in youth: A phenomenological approach

2008 ◽  
Author(s):  
A. Yazdannik ◽  
M. F. Yazdani ◽  
M. Moghadam ◽  
M. Nasiri
Keyword(s):  
Phenomenological Approach ◽  
Psychological Outcomes

Division of Roles in Homeschooling: Desire and Ability to Change Places

2019 ◽  
Author(s):  
Avishag Edri ◽  
Henriette Dahan-Kalev
Keyword(s):  
Qualitative Research ◽  
Thematic Analysis ◽  
Phenomenological Approach ◽  
Western Society ◽  
Real Possibility ◽  
Individual Perceptions

In Israel, like the rest of Western society, women are still largely responsible for childcare and housework. In homeschooling families, this division is even more prominent. This article explores homeschooling mothers’ perspective on role division. Using the auto-ethnographic-phenomenological approach to qualitative research of individual perceptions and experiences, I recruited a purpose-focused sample of 27 homeschooling mothers. Using interviews and personal logs (or diaries), I obtained data that underwent thematic analysis. The study findings indicate that mothers like being with their kids and that most of them would not want to change places with their partner, but the question arises as to whether there is a real possibility of choosing.

A Machine for Feeling: Ping's Posthuman Affect

2017 ◽  
Vol 26 (1) ◽  
pp. 87-102
Author(s):  
Alys Moody
Keyword(s):  
Twentieth Century ◽  
Scholarly Work ◽  
Active Involvement ◽  
Affective Quality ◽  
Contemporary Perspective ◽  
The Moment ◽  
Natural Emotion ◽  
Archival Quality ◽  
Historical Moment

Beckett's famous claim that his writing seeks to ‘work on the nerves of the audience, not the intellect’ points to the centrality of affect in his work. But while his writing's affective quality is widely acknowledged by readers of his work, its refusal of intellect has made it difficult to take fully into account in scholarly work on Beckett. Taking Beckett's 1967 short prose text Ping as a case study, this essay is an attempt to take the affective qualities of Beckett's writing seriously and to consider the implications of his affectively dense writing for his texts’ relationship to history. I argue that Ping's affect emerges from the rhythms of its prose, producing a highly ‘speakable’ text in which affect precedes interpretation. In Ping, however, this affective rhythmic patterning is portrayed as mechanical, the product of the machinic ‘ping’ that punctuates the text and the text's own mechanical rhythms, demanding the active involvement of the reader. The essay concludes by arguing that Ping's mechanised affect is a specifically historical feeling. Arising from a specifically twentieth-century anxiety about technology's tendency to evacuate ‘natural’ emotion in favour of inhuman affect, it participates in a tradition of affectively resonant but curiously blank or indifferent performances of cyborg embodiment. Read in this historical light, Ping's implication of the reader in the production of its mechanised affect grants it, from our contemporary perspective, an archival quality. At the same time, it asks us to broaden the way in which we understand the Beckettian text's relationship to history, pointing to the existence of a more complex and recursive relationship between literature, its historical moment, and our contemporary moment of reading. Such a post-archival historicism sees texts as generated by but not bound to their historical moments of composition, and understands the moment of reception as an integral, if shifting, part of the text's history.

ДОСВІД У ДИСКУСІЙНОМУ ПОЛІ ПОЗИЦІЮВАННЯ КАТЕГОРІЇ "ТВОРЧИЙ ПОТЕНЦІАЛ"

1970 ◽  
Vol 6 (1) ◽  
pp. 62-71
Author(s):  
Лариса Міщиха
Keyword(s):  
Coming Out ◽  
Motion Vector ◽  
Integral Form ◽  
Phenomenological Approach ◽  
Humanistic Psychology ◽  
Creative Potential ◽  
Form Of Life ◽  
Conceptual Background ◽  
Creative Experience ◽  
The One

У статті зроблено спробу проаналізувати феномен "досвід" у форматі дослідження творчого потенціалу особистості. Теоретико-методологічними засадами заявленої вище проблеми стали концептуальні засади гуманістичної психології, феноменологічного підходу. Досвід, як вагома складова творчого потенціалу особистості, розглядається у співвідношенні таких провідних тенденцій, як стереотипність та оригінальність. Наголошується, що досвід, з одного боку, може сприяти все більшій алгоритмізації та стереотипізації, консерватизму у розв’язанні нових задач, що безумовно перешкоджає творчості. З іншого боку, в осіб з високим творчим потенціалом він стає інтегрованою формою життєтворчості, де в структурі старих знань завжди знайдеться місце новим знанням як привнесених "ззовні", так і знанням, що їх отримує автор через власні ініціації, пошук, накреслюючи власноруч вектор руху. Звідси він отримує "побічний продукт" творчої діяльності – саморозвиток. Відтак творчий досвід трактується як такий, що містить у собі акумуляцію та інтеграцію усіх прижиттєвих творчих напрацювань особистості, готовність її до творчої діяльності та безперервної освіти. Суб’єкт творчої діяльності залишається відкритим новому досвіду, сповнений готовності до нового пізнання, творчих пошуків. In the article there was an attempt to analyze the phenomenon "experience" in the form of investigating a person’s creative potential. The theoretic methodological background of the performed above problem is conceptual background of humanistic psychology and phenomenological approach. Experience as an essential part of a person’s creative potential is regarded in relation to such leading trends as stereotype and originality. On the one hand, the experience is emphasized to be able to promote the model of algorithm and stereotype, conservatism in solving new tasks that is certain to inhibit creativity. On the other hand, personalities with high creative potential have an experience that is becoming an integral form of life work where in the structure of old knowledge you can always find a place for both new ones coming out "from inside" and the ones the author takes due to his own initiation and search. In this way he sketches motion vector and gets the "by-product" of his creativity, it means self-development. Hence, creative experience is interpreted as the one to absorb accumulation and integration of all creative experience in a person’s life; also his/her readiness to creativity and continuing education. The subject of creativity remains opened to a new experience that is fully ready for a new cognition and creativity.

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