The affective quality

Author(s):  
Siri Erika Gullestad ◽  
Bjørn Killingmo
Keyword(s):  
Author(s):  
Chiara Vari ◽  
Patrizia Velotti ◽  
Alessandro Crisi ◽  
Silvana Carlesimo ◽  
Antonio G. Richetta ◽  
...  

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.


2017 ◽  
Vol 26 (1) ◽  
pp. 87-102
Author(s):  
Alys Moody

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.


2021 ◽  
pp. 1-22
Author(s):  
Piotr Oleś ◽  
Elżbieta Chmielnicka-Kuter ◽  
Tomasz Jankowski ◽  
Piotr Francuz ◽  
Paweł Augustynowicz ◽  
...  

Abstract For many generations, works of art have been a source for experiencing beauty. They add to the wealth of our culture because they convey universal themes and values. In this study, we treat paintings as a stimulus for personal story-telling. The purpose was to explore the affective quality of personal meanings present in autobiographical narratives. Our findings show that subjective ratings of the beauty of figurative paintings are linked with the quality and theme of personal experiences recalled in response to viewing them, but not related to the length of the story. ‘Beautiful’ pictures elicit descriptions of desirable experiences associated with passive contemplation and satisfied self-enhancement motive. ‘Non-beautiful’ pictures call to mind difficult experiences linked with frustration. The experts formulated longer self-narratives inspired by paintings rated beautiful in comparison to laypersons, and laypersons formulated longer self-narratives inspired by paintings rated not beautiful in comparison to experts. The results are discussed in connection to the nature of the aesthetic experience and specificity of personal maenings.


Author(s):  
Kevin Curran

Like a number of other Renaissance comedies and romances, Shakespeare’s Measure for Measure ends with a scene of judgment in which punishment and reward is distributed among a group of characters. Measure for Measure insistently links judgment to the spatial and revelatory dynamics of facing and unmasking. Adducing evidence from two early modern archives – legal writing on the theory and practice of judgment and treatises on physiology and faculty psychology – Kevin Curran addresses two related questions: (1) What can a historical understanding of the face in early modern culture tell us about the phenomenology of judgment in Measure for Measure? And (2) how does Shakespeare’s staging of judgment create a participatory experience in the playhouse grounded in sensation? The essay ultimately argues that the face in Measure for Measure functions as a hinge between the ethical relation of judgment and the ethical relation of theater, one that insists of the embodied and affective quality of both forms of interaction.


2015 ◽  
Vol 51 (Supplement) ◽  
pp. S426-S429
Author(s):  
Kyungrak Choi ◽  
Kimin Ban ◽  
Jaeho Choe ◽  
Eui S. Jung

Author(s):  
Julia Seebode ◽  
Robert Schleicher ◽  
Sebastian Möller

Sound is a common means to give feedback on mobile devices. Much research has been conducted to examine the learnability and user performance with systems that provide audio feedback. In many cases a training period is necessary to understand the meaning of a specific feedback, because their functional connotation may be ambiguous. Additionally, no standardized evaluation method to measure the subjective quality of these messages has been established; especially regarding the affective quality of feedback sounds. The authors describe a series of experiments to investigate the affective impression of audio feedback on mobile devices as well as their functional meaning under varying contexts prototypical for mobile phone usage. Results indicate that context influences the emotional impression and that there is a relation between affective quality and functional appropriateness. These findings confirm that emotional stimuli are suitable as feedback messages in the context of mobile HCI and that context matters for the affective quality of sounds emitted by mobile phones.


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