state of mind
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2022 ◽  
Livia Durac ◽  

Reflecting on human attitude towards reality, together with deciphering the emotional code that accompanies it, has configured - in time – the aesthetic universe, open to human reflection, creation, and evaluation. Aesthetics appears through the way in which consciousness reacts and capitalises upon things in nature and society, or which belong to human subjectivity, including on artistic work, which have an effect on sensitiveness due to their harmony, balance and grandeur. As a fundamental attribute of the human being, creativity is the engine of cultural evolution, meaning the degree of novelty that man brings in his ideas, actions, and creations. Aesthetical values, together with the other types of values, contribute to what society represents and to what it can become, hence motivating human action and creation. Their role is to create a state of mind that encourages the cohesion, cooperation, and mutual understanding of the society. Integrating a chronological succession of the evolution of the concepts that objectify its structure, its aesthetics and creativity, this article stresses the synergetic nature of the two dimensions of human personality, paving the way to beauty, as a form of enchantment of the human spirit.

2022 ◽  
Yiou Penelope Peng

無為),effortless action, is one of the crucial tacit knowledge from pre-Qin Chinesethinkers. Edward Slingerland articulates in Effortless action: wu-wei asconceptual metaphor and spiritual ideal in early China, “wu-wei, in the absence ofdoing exertion, literally means ‘in the absence of/without doing exertion,’ Itis important to realise, however, that wu-wei properly refers not to what isactually happening (or not happening) in the realm of observable action butrather to the state of mind of the actor. That is, it refers not to what is oris not being done but to the phenomenological state of the doer.” (Slingerland2003: 7)Seeminglyeffortless, wu-wei can be understood as a dynamic, un-self-conscious state ofmind of an agency that is optimally active and effective. This effortless flowaccurately resonates with what I have experienced throughout my journey in IAM (VR), created by Susanne Kennedy, Markus Selg, Rodrik Biersteker andRichard Janssen in 2021. During this experience, the vivid bewilderment of‘being here but not here’ reflects an uncanny sublimation of the body incyberspace. As my vision travels deeply inside, my physical body, “in theabsence of doing exertion”, remains situated in an enclosed cubic space in thegallery where the journey takes place. Such attentiveness of consciousnesstraveling through the virtual reality within the stillness of one’s body evokesa pertinent embodiment of Wu-Wei. Positioned itself in the stance ofcritical posthumanism, this essay asks how do we consider the physical form of the human body,assembled in reality-reality within the immersive sharing and exchangingprocess of virtual-reality? What kind of transformation that the human bodymight experience when it immerses into that otherworldly reality? I Am (VR),as an embodied performative happening of both artistic research andpractice of virtual reality, provides insightful perspective in searching forpossible answers. Taking this analysis as a departure point, this essay furtherinvestigates the possible entanglements between the ‘I’ and the ‘VirtualReality. @font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:"Arial Unicode MS";panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:128;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-134238209 -371195905 63 0 4129279 0;}@font-face{font-family:"\@Arial Unicode MS";panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:128;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-134238209 -371195905 63 0 4129279 0;}@font-face{font-family:STSongti-TC-Regular;panose-1:2 1 6 0 4 1 1 1 1 1;mso-font-charset:136;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:647 135200768 16 0 1310879 0;}@font-face{font-family:"\@STSongti-TC-Regular";mso-font-charset:136;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:647 135200768 16 0 1310879 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Arial Unicode MS";border:none;mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA;}p{mso-style-priority:99;mso-margin-top-alt:auto;margin-right:0cm;mso-margin-bottom-alt:auto;margin-left:0cm;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:10.0pt;mso-ansi-font-size:10.0pt;mso-bidi-font-size:10.0pt;mso-fareast-font-family:"Arial Unicode MS";border:none;}.MsoPapDefault{mso-style-type:export-only;}div.WordSection1{page:WordSection1;}@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:"Arial Unicode MS";panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:128;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-134238209 -371195905 63 0 4129279 0;}@font-face{font-family:"Helvetica Neue";panose-1:2 0 5 3 0 0 0 2 0 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:-452984065 1342208475 16 0 1 0;}@font-face{font-family:"\@Arial Unicode MS";panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:128;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-134238209 -371195905 63 0 4129279 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Arial Unicode MS";border:none;mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA;}p.Default, li.Default, div.Default{mso-style-name:Default;mso-style-unhide:no;mso-style-parent:"";margin-top:8.0pt;margin-right:0cm;margin-bottom:0cm;margin-left:0cm;line-height:120%;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Helvetica Neue";mso-fareast-font-family:"Helvetica Neue";mso-bidi-font-family:"Helvetica Neue";color:black;border:none;mso-style-textoutline-type:none;mso-style-textoutline-outlinestyle-dpiwidth:0pt;mso-style-textoutline-outlinestyle-linecap:flat;mso-style-textoutline-outlinestyle-join:bevel;mso-style-textoutline-outlinestyle-pctmiterlimit:0%;mso-style-textoutline-outlinestyle-dash:solid;mso-style-textoutline-outlinestyle-align:center;mso-style-textoutline-outlinestyle-compound:simple;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:10.0pt;mso-ansi-font-size:10.0pt;mso-bidi-font-size:10.0pt;mso-fareast-font-family:"Arial Unicode MS";border:none;}.MsoPapDefault{mso-style-type:export-only;}div.WordSection1{page:WordSection1;}

2022 ◽  
pp. 17-30
Anita Houghton

2022 ◽  
Marco Delmastro ◽  
Marinella Paciello

Abstract Beliefs about misinformation and conspiracy theories are often associated with a state of mind. With the spread of the pandemic there has been an outbreak of depression cases among the population. In this paper, we attempt to test the relationship between affective states and beliefs in misinformation about COVID-19 during the early phase of the pandemic. We do this through a survey carried out on a random and representative sample of the Italian population that allows us to go and verify the co-evolution of many factors: i.e., beliefs in misinformation, symptoms of depression, perceptions and misperceptions about COVID-19, ways in which citizens got informed about the pandemic, and sociodemographic characteristics (e.g., age, gender, education). The results show that the relationship between affective state and beliefs in misinformation exists but is more complex than hypothesized.

2021 ◽  
Vol 24 (6) ◽  
pp. 174-182
Aleksandr Kamkin ◽  

The article deals with analysis of right-wing radical state of mind among the German armed forces soldiers. The author describes the most significant incidents in German army, which relate to right-wing radicalism, within the last several years, goes into details regarding senior lieutenant Franco A. case as well as uncovering right-wing cell in KSK special force unit. Among the analysis of particular cases the article contains sociological analysis of right-wing radical minds in society in general and in the army. The researcher enlists main characteristics of such feeling in the society and armed forces, as well as main markers of right-wing radicalism. Based on the attempt to forecast actions of the state to prevent further cases of political extremism in Bundeswehr prospects of situation in this sphere are evaluated.

2021 ◽  
Irēna Vaivode

The Doctoral Thesis is devoted to the field of entrepreneurial mindset and its interaction with the process of the creation of a successful born global strategy. Entrepreneurial mindset is the research object of the Doctoral Thesis, it refers to a specific state of mind, which orientates a human towards entrepreneurial activities and outcomes. Successful born global strategy is considered as the outcome of the dynamic process of entrepreneurial mindset. The present Doctoral Thesis covers research on the role of the individual level characteristics of entrepreneurial mindset as basis for running born global companies.

2021 ◽  
Vol 15 (12) ◽  
pp. 3545-3546
Farrukh Sarfraz ◽  
Nadeem Razaq ◽  
Fahad Sarfraz ◽  
Sadia Ikram ◽  
Saima Rubab Khan ◽  

Introduction: Writing or composing has been seen an issue to several of undergraduates students, composing has been the most difficult micro skill of all times. Feedback plays an essential part in composing process. Considering the issues in composing classes, the point of this study was to see at a planning procedure through which language learners can make self-confidence, be impelled, advance the quality of publication, secure communications through composing and taking after feedbacks. Objective: To investigate the purpose of students’ attitude towards peer-feedback and facilitator feedback. Materials and Methods: Study design: Quantitative cross sectional Settings: Azra Naheed Medical College Duration: Six months i.e. 1st January 2021 to 30th June 2021 Methodology: This is quantitative cross sectional study conducted in the medical undergraduate’s students at Azra Naheed medical college Lahore. Total participants were 200 selected after taking the informed consent. Students have an idea of giving and receiving feedback. A validated questionnaire was circulated to elicit students thought about the effectiveness regarding feedback in academics. The data was entered an analyzed using SPSS version 23. Results: Results revealed maximum students showed positive attitude. As collectively 3% students are strongly disagree, 14% are disagree, 17.5% are neutral, 38% are agree and 17.5% are strongly agree. Conclusion: The main issue in this study was to explore participants state of mind towards peer and teacher-feedback. This study showed that medical students showed positive attitude towards giving and receiving peer feedback. Most of the participants may consider that facilitators composed observations have fruitful technique to move forward the quality of their writing. Likely since they acknowledged that facilitators had more data. Consequently, this study help the participants to think fundamentally rather than living in anxiety and it has been only due to the facilitator’s feedback. Keywords: feedback, writing, peer feedback, academic writing

2021 ◽  
pp. 28-47
Nataliia Nikoriak ◽  
Aliona Matiychak

The genre heredity concept is articulated on the analysis example of I. Drach’s screen version of the biographical film story “I’m coming to you” (1970), dedicated to the 100th anniversary of Lesya Ukrainka. The film is marked by innovative approach of I. Drach as a scriptwriter to the image of the poetess. Contrary to the tradition of documentary film to interpret her biography in a certain matrix key (as a fighter and revolutionary), Drach tried to identify Lesya Ukrainka primarily as a private individual, as the woman who knew how to sacrifice herself for the sake of love. Without aiming to show in detail the entire biography of the poetess, the author of the film story chose only a small fragment of her life – four years 1897–1901. In terms of biopic genre heredity, the article observes how this biographical film presents possible ways of processing and contamination of available documentary material (letters, memoirs, reminiscences of contemporaries) and integral creation by Lesya Ukrainka (her poetry, translations, renditions). Hence, the biopic on the basis of multi-genre text material appears as a kind of intertextual plexus. At the same time, the film pays much attention to the feelings, thoughts, creative impulses and state of mind of the heroine. By analogy with the poetics of literary writing, the form of the poetess’ inner monologue was chosen in accordance with the portrait film genre. It is clear that through the prism of Lesya’s life and creative experience the personal attitude of the poet I. Drach emerges towards understanding and reproducing the figure of creative personality in art: the author’ vision logically leads to those biographical episodes that in the existential sense appear the most significant.

2021 ◽  
Vol 62 (1-2) ◽  
pp. 5-23

Abstract Biography takes the scant facts of a life that are available to scrutiny, like the waypoints on a journey to be mapped, and attempts to form a coherent narrative from them. That coherence is, to at least some degree, contingent upon the ideological position of the author and as Michael Benton has noted, “the biographical subject is a textual creation as much as a historical recreation.” While fully acknowledging that one cannot “read back” from the works of an author to their life, Benton has described the substance of literary outputs as “quasi-facts” to be set beside “historical facts” and argued that these “can be seen as reflecting some contemporary events or as sublimating some experiences in the writer’s past or mirroring some authorial state of mind.” This article draws on the First Violin Sonata as such a quasi-fact of Bartók’s life to question whether biographical information can or should impact the ways that we understand and perform his music. The article additionally considers whether the content of individual works as mental products may have something tangible to impart about their composer’s personality. Given the broad consensus around the so-called “Five-Factor Model” of personality measurement within the field of psychology, it speculates whether this might offer a tool to refine our portrait of Bartók through analysis of his music.

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