Emotion and the arts

2021 ◽  
pp. 73-118
Author(s):  
Steven Brown
Keyword(s):  
General Theory ◽  
Emotional Content ◽  
Communication Model ◽  
Human Emotion ◽  
The Arts

While many historical approaches equate the arts with aesthetics, I see the arts far more broadly than that. In addition, aesthetic emotions themselves need to be grounded in a general theory of human emotion. Along these lines, this chapter presents a communication model of emotion that covers the full gamut of processes from the production to the perception of emotion in the arts. The production side includes compositional processes for imbuing an artwork with emotions, as well as performance processes for conveying the emotions contained in an artwork. The perceptual mechanisms include recognition of the emotional content of an artwork, as well as the experience of felt emotions by people in response to such a work. The latter is where aesthetic emotions are situated in the model.

What Makes a Kind an Art-kind?

2020 ◽  
Vol 60 (4) ◽  
pp. 471-488
Author(s):  
Michel-Antoine Xhignesse
Keyword(s):  
General Theory ◽  
Main Difficulty ◽  
The Road ◽  
The Arts ◽  
Physical Medium ◽  
The Difference

Abstract The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium.

scholarly journals REPRESENTASI KOMUNIKASI BUDAYA “NGARAK PENGANTIN BUAYA PUTIH” DALAM PERUBAHAN SOSIAL MASYARAKAT PADARINCANG

2017 ◽  
Vol 10 (2) ◽  
pp. 22
Author(s):  
Rahmi Mulyasih ◽  
Ahmad Sururi
Keyword(s):  
Social Change ◽  
Data Collection ◽  
Cultural Communication ◽  
Communication Model ◽  
Traditional Art ◽  
Community Activities ◽  
The Arts ◽  
Traditional Arts ◽  
The Impact ◽  
Made In

As one part of local wisdom, traditional art of Ngarak Pengantin Buaya Putih in Padarincang Village, Serang Regency experienced various dimensions of change in facing social change. The tendency is that people are slowly starting to display the outside culture in the wedding. This indicates a social change in Padarincang society, this social change is characterized by the reluctance of some younger generation to preserve the arts of " Ngarak Pengantin Buaya Putih ". The purpose of this study is to find out how the representation of cultural communication of White Buaya bride in the changes of social change at this time, the identification of efforts made in maintaining the traditional arts of white crocodile bride, the obstacles faced and the model of cultural communication in social change. The method used in this study is phenomenology with data collection techniques using interviews, observation and documentation. The results of the study and discussion show that the interaction and transactional communication model between Padarincang community and the outside community has resulted in the impact of social change which resulted in the local cultural stragnation. Although Padarincang society still strives to maintain the existence of art of " Ngarak Pengantin Buaya Putih " in the middle of social change and communication model that occurs in a responsive and transactional interaction. Various efforts of the stakeholders have been done in maintaining the existence of art of white crocodiles bride like the presence of sanggar, socialization and appreciation of local art displays in various community activities.

From Psychological Science to the Psychological Humanities: Building a General Theory of Subjectivity

2017 ◽  
Vol 21 (4) ◽  
pp. 281-291 ◽  
Author(s):  
Thomas Teo
Keyword(s):  
General Theory ◽  
Science And Technology Studies ◽  
Postcolonial Studies ◽  
Psychological Science ◽  
The Arts ◽  
Social Theories ◽  
Recent Developments ◽  
Genetic Science ◽  
The Aesthetic ◽  
Theories Of Subjectivity

The development of psychology as a science and the struggle for scientific recognition has disrupted the need to interrogate the discipline and the profession from the perspective of the humanities, the arts, and the concept-driven social sciences. This article suggests that some of the humanities contribute significantly to an understanding of human subjectivity, arguably a core topic within psychology. The article outlines the relevance of the psychological humanities by reclaiming subjectivity as a core topic for general psychology that is grounded in theoretical reconstruction, integration, and advancement. The argument relies on a variety of disciplines to achieve a deeper understanding of subjectivity: Philosophy provides conceptual clarifications and guidelines for integrating research on subjectivity; history reconstructs the movement of subjectivity and its subdivisions; political and social theories debate the process of subjectification; indigenous, cultural, and postcolonial studies show that Western theories of subjectivity cannot be applied habitually to contexts outside of the center; the arts corroborate the idea that subjective imagination is core to the aesthetic project; and science and technology studies point to recent developments in genetic science and information technology, advances that necessitate the consideration of significant changes in subjectivity. The implications of the psychological humanities as an important, justifiable tradition in psychology and for a general theory of subjectivity are discussed.

scholarly journals Theory of Musical Education of the First Third of the XX Century in the Context of Development of Domestic Pedagogy

2019 ◽  
Vol 7 (1) ◽  
pp. 153-164
Author(s):  
Svetlana I. Doroshenko
Keyword(s):  
Twentieth Century ◽  
General Theory ◽  
Music Education ◽  
Social Influences ◽  
Intrinsic Value ◽  
Productive Activity ◽  
Musical Education ◽  
The Arts ◽  
Musical Activity ◽  
General Pedagogy

The article highlights and analyzes the key ideas of the national pedagogy of the first third of the twentieth century – the ideas of integrity and complexity, freedom and creativity, labor (productive activity), interaction with society and taking into account social influences – in relation to their implementation in the musical education of this period. The works by B. V. Asafiev, N. Ya. Bryusova, V. N. Shatskaya and other theorists of musical education are analyzed. The author comes to the conclusion that the theory of musical education in the first third of the twentieth century has enriched the general pedagogy with artistic and aesthetic interpretation and implementation of these ideas. The ideas of integrity and complexity in the theory of music education are based on the unity of all the arts, syncretism, depth and sincerity of children’s artistic feeling. The ideas of freedom and creativity are partly based on the principles of free education; they manifest themselves in the position of a teacher as a researcher, assistant, offering, but not imposing a musical repertoire, types of musical activity. Creativity in the theory of musical education of this period is associated with composing music by the children themselves – the highest form of productive musical activity of pupils. The idea of taking into account social influences, interaction with society is manifested in the study of music of a given social environment, in the research and ethnographic position of the teacher and students. The peculiarity of the interpretation and implementation of key pedagogical ideas of the first third of the twentieth century in the theory of musical education allows us to speak about the intrinsic value and, in part, about the anticipating influence of this theory on the general theory of pedagogics.

Toward a general theory of the arts

1967 ◽  
Vol 1 (2) ◽  
Author(s):  
F.S.C. Northrop
Keyword(s):  
General Theory ◽  
The Arts

Extreme self-sacrifice beyond fusion: Moral expansiveness and the special case of allyship

2018 ◽  
Vol 41 ◽  
Author(s):  
Daniel Crimston ◽  
Matthew J. Hornsey
Keyword(s):  
General Theory ◽  
Biological Markers ◽  
Natural Environment ◽  
Relevant Dimension ◽  
Special Case

AbstractAs a general theory of extreme self-sacrifice, Whitehouse's article misses one relevant dimension: people's willingness to fight and die in support of entities not bound by biological markers or ancestral kinship (allyship). We discuss research on moral expansiveness, which highlights individuals’ capacity to self-sacrifice for targets that lie outside traditional in-group markers, including racial out-groups, animals, and the natural environment.

Electron Microscopy in Molecular Biology

1967 ◽  
Vol 25 ◽  
pp. 2-3
Author(s):  
Cecil E. Hall
Keyword(s):  
Electron Microscopy ◽  
Molecular Biology ◽  
Noise Level ◽  
Molecular Structures ◽  
Material Structure ◽  
The Arts ◽  
Shadow Casting ◽  
Electron Image ◽  
High Degree ◽  
Very High

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.

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