Some recommendations on the use of daily life methods in affective science

Real-world emotions are often more vivid, personally meaningful, and consequential than those evoked in the lab. Therefore, studying emotions in daily life is essential to test theories, discover new phenomena, and understand healthy emotional functioning; in short, to move affective science forward. The past decades have seen a surge of research using daily diary, experience sampling, or ecological momentary assessment methods to study emotional phenomena in daily life. In this paper, we will share some of the insights we have gained from our collective experience applying such daily life methods to study everyday affective processes. We highlight what we see as important considerations and caveats involved in using these methods and formulate recommendations to improve their use in future research. These insights focus on the importance of (i) theory and hypothesis-testing; (ii) measurement; (iii) timescale; and (iv) context, when studying emotions in their natural habitat.

Sculpture is a form of the agonal tradition of ancient culture

The purpose of the article consists of exploring sculpture as a form of the agonal tradition of ancient culture. The research methodology consists in the application of analytical method - to determine the theoretical and methodological foundations of the study of the phenomenon of sculpture as a form of the agonal tradition of ancient culture, using works of ancient classics; the method of comparative studies is used to analyze approaches to understanding sculpture as a form of agonal tradition in the context of «Entertainment» (the discourse of antiquity); the hermeneutic method is used to interpret the concept of «Entertainment» in the context of ancient culture; the method of theoretical generalization is used to summarize the intermediate and general results of the study. The scientific novelty of the work is that for the first time the essence of the sculpture as a form of the agonal tradition of ancient culture in the context of the phenomenon of «Entertainment». Conclusions. In ancient culture, agonism was its fundamental essence, and this manifested itself in all spheres of socio-cultural life, in art, politics, and sports. The spirit of competition was present in all aspects of the phenomenon of «Entertainment», shows dedicated to the February Lupercalia, December Saturnalia, Big and Small Dionysias, Big Panathenes, Pythian, Nimean, Isthmian, Olympic Games, where gods and winners were revered by the personification of their statue (Dionysus; Olympic winners: Epikharin hoplitodrome, Xenombrot, Xenodik, Kinisk). In antiquity, the anthropocentric perception of a person as an individual is not important, but an exclusively living body, corporeality is the main category underlying all forms of ancient culture. But sculpture, as a form of agonal tradition in ancient culture, is a great opportunity to show your own individuality within the framework of the canon, generally accepted traditions (Myron, Polycletus). Ancient plasticity became a great force, for it was the personification of the bodily understanding of life, the slave was understood exclusively as a thing, a body. But there is also a mythologized aspect of the artist's divine gift, sculpture as a means of transferring the divine gift of the gods to the artist who creates it, with this aspect of irrationality, antique plastic looks from a different perspective, from the perspective of the exaltation of the gods and heroes, the winners of the Olympics, who are beginning to be seen in the context of anthropocentrism. A hero is a person, he becomes, at least for a moment, like a god, and this is personified in the sculpture. Keywords: sculpture, agonal tradition, «Entertainment», collective experience, interpretation, ancient culture.

Visual art as a form of individualization of collective experience: Renaissance discourse

The purpose of the article consists of exploring visual arts in the context of Renaissance discourse as a form of individualization of collective experience. The methodology consists of the application of analytical method – to determine the theoretical and methodological foundations of the study of visual art as a form of individualization of collective experience in the works of the Renaissance theorists: Alberti, G. Vasari, Marsilio Ficino, Lorenzo Valla, Pietro Pomponazzi; Renaissance artists – Giotto, Masaccio, Michelangelo, Leonardo da Vinci, Raphael Santi, Titian; formalization method – to clarify visual art within the subject field of art history in the context of the culture of the Renaissance; method of comparative studies – for analyzing approaches to understanding the visual art as a form of individualization of collective experience. The scientific novelty of the work is that for the first time the essence of visual art is a form of individualization of collective experience in the context of the Renaissance discourse. Conclusions. The article explores visual art in the context of the Renaissance discourse as a form of individualization of collective experience. Clarified the meaning of the concept of visual art and painting in the framework of the subject field of art history (concepts of A. Gabrichevsky, M. Kagan, V. Vlasov, A. Hildebrand). In the socio-cultural development of the Renaissance, there is an intensive process of individualization of the artist, and there is also a tendency to intensively turn to samples of ancient art, which testifies to the visual art as the brightest form of individualization of collective experience. In the context of comparative analysis, the concepts of Cennino D'Andrea Cennini, G. Vasari, Alberti, Lorenzo Ghiberti, Filarete, Piero Della Francesco, Leonardo da Vinci, Jean Peleren, Albrecht Dürer, Pietro Aretino, who described all the advantages of painting based on color, are considered; the Venetian artist Paolo Pino, author of Dialogue on Painting; Lodovico Dolci, author of Dialogue on Painting; the Tuscan writer A. Doni, who in his dialogue "About drawing" explained the priority of the Florentine tradition, in which the emphasis was on drawing, and not on coloring. Key words: visual art, renaissance, painting, collective experience, individualization

Mori Arimasa’s Concept of Experience

The article introduces and reconstructs the main ideas of the book Experience and Thought by Mori Arimasa. Released in the form of journal publications in 1970–1972, it has never been translated into European languages. The Japanese philosopher who spent a large part of his life in France undertakes a comparative analysis of the socio-cultural and linguistic foundations of the experience of the Japanese and Europeans. The article examines the main aspects of Mori’s concept of experience: understanding experience as a reality and as a subject, separation of two forms of experience — universal and personal, the relationship between experience and language and between experience and thought, the theory of binary connections and second person world, designed to identify and explain the underlying prerequisites that determine the specific character of the experience of the Japanese. The author of the article shows that Mori confirms his own thesis that the primary experience of a person is conditioned by original cultural deep predisposition and linguistic affiliation. Notwithstanding his life abroad and passion for Western philosophy, Mori thinks in about the same way as his fellow philosophers who lived in Japan, sharing their empiricism, understanding the subject as a relatum, perceiving an individual subjective experience as a segment of the universal experience, interpreting a subject as a sum total of relations. In conclusion, Mori’s ideas are assessed in terms of ethno-epistemological approaches. Undoubtedly, Mori’s analysis of the experience provides arguments for epistemological pluralism. It allows us to talk about the variability of the perception of reality in different cultural and historical contexts and about the possibility of different ways and perspectives of its comprehension, the spatial and temporal dynamics of epistemological terminology, despite the apparent commonality. Mori Arimasa taking experience as the starting point and the main task of his analysis, by his own example, demonstrated the importance of the empirical form of acquiring knowledge for Japanese epistemic culture, along with its inherent specificity of understanding experience. His linguistic studies of the structures of the native language resulted in the creation of a memorable image of the second person world and outlined the field of joint collective experience without a clearly expressed single autonomous subject of cognitive activity. Mori demonstrated an approach to cognition, in which the knower feels oneself a part of the cognized reality, and is not alienated from it, as a result the cognition turns into self-cognition of reality.

Education and Corporeality: Contributions from the Philosophy of Sport

Corporeality is a subject strongly present in educational discussion nowadays. The purpose of this paper is to present an outline of issues we may address from the philosophy of sport that could foster a fruitful dialogue with the philosophy of education. It is understood that the philosophy of education can benefit from reflections on corporeality and human movement, namely from sports and games. Initially, the article introduces the philosophy of sport as a field of study that addresses reflections on human movement from sports and games. They highlight elements that are not specific to such practices and foster reflexions on different areas. Afterwards, it explores the experience of corporeality and the dialogical dimension of human movement based on Merleau-Ponty's phenomenology. Human movement indicates a unique way of being communicative. Finally, it presents some reflections on playing games as an experience that helps us think about our relationships with others and the environment. From this perspective it is possible to seek some critical features to understand education in the experience of human movement, namely from playing games, such as experience, dialogue, and expressiveness. Thoughts on human movements may reinforce the role corporeality plays in education as a collective experience and the recognition of the body's expressive potential in constructing knowledge.

A.J. TOYNBEE: HISTORICAL EXPERIENCE AND COTEMPORANEITY

Рассматривается интерпретация А.Д. Тойнби взаимосвязи исторического опыта и современности. Показано, что видение исторического опыта этим автором обосновывается на базе антропологии, позволяющей обосновать его эпистемологические характеристики. Рассмотрены истоки концепции исторического опыта Тойнби в воззрениях А. Бергсона, П. Тейяра де Шардена и других авторов. Взгляды Тойнби на живой индивидуальный и коллективный опыт, их соотношение с историописанием сопоставлены с идеями Ф. Анкерсмита и других философов. В свете подхода Тойнби к историческому опыту рассмотрена его деятельность как историка и аналитика современного состояния мирового сообщества. The article is focused on A.J. Toynbee's interpretation of the relationship between historical experience and contemporaneity. It reveals that the vision of historical experience by this author is justified on the basis of anthropology, which allows to substantiate its epistemological characteristics. The sources of Toynbee's views on historical experience in the heritage of A. Bergson, P. Teilhard de Chardin, and other authors are considered. Toynbee's views on live individual and collective experience, as well as their correlation with historical writing are compared to the ideas of F. Ankersmit, and other philosophers. In the light of Toynbee's approach to historical experience, his activity as a historian and analyst of the current state of the world community is considered.

Playing with time to escape time and space: Slow Music Improvisation in an online space for Mindfulness

This article is an exegetical look at a series of improvisational concert/performance/co-creations that started in the lockdown of March 2020 in New Zealand. This informal series of livestream concerts has continued to develop since that time, with a range of collaborative performers. This article serves to unpick some of the creative practice and conceptual framework that outline this series from the point of view of individual creative reflection and mindfulness. This series of events were designed to provide space for shared improvisation as a tool for mindfulness in uncertain times. It was also designed to provide some collective moments of reflection through a shared remote experience. But at the core, this series is in exploring ideas of slow improvisation. Working in a purely online context utilising the limitations of video and sound sharing technology to create specific new performative experiences. As a part of this process we as performers are places into a situation that works between individual awareness (as you are in a space by yourself) and collective experience (as you perform together online). This experience is very intuitive and the participants are forced to embrace the uncertainty of the environment and technology, and recognise the spontaneity of improvisational experiences that are mediated through the experience of shifting time, and the disembodied nature of Zoom to create music that has a sense of release and connection.

Формальна і семантична структури дериватів y говорах української мови: проблема кореляції

У статті порушено проблему кореляції формальної і семантичної структур дериватів. Дослідження здійснено на прикладі прикметників, дериватів із коренем -гор- (-гір-, -гур-), які входять до складу словотвірного гнізда з вершиною гора ‘гора’, ‘верхня частина’ і репрезентують семантичну опозицію ‘верx’ ↔ ‘низ’.Корпус прикметників із коренем -гор- (-гір-, -гур-) формує понад 60 одиниць, які описують орієнтацію об’єктів у просторі, окреслюють просторову кваліфікацію об’єкта та моделюють си-стему координат мовної (а радше діалектної) картини світу. Детально проаналізовано семантику прикметників першого та другого ступенів деривації (гíрний / гóрний, горáвий, горúстий, горíшний, гірськúй, гóряний, горíський тощо); префіксально-суфіксальних форм (згíрний, згірнúстий, загíрний, нагíрний, пагористий та ін.) та композитів (крутогóрий, плоскогíрний, простогíрний тощо). Семан-тичну структуру прикметників проаналізовано в межах двох семантичних субкомплексів, а саме: ‘верхня / нижня частина об’єкта’ та ‘верхня / нижня межа’. Значення прикметників структурова-но єрархічно. Усі значення (компоненти семантичної структури) ілюструють приклади, засвідчені в говірках української мови. Зафіксовані значення представляють різні аспекти життя українців.Проаналізовані мовні одиниці відтворюють діалектні особливості, зокрема семантичні, харак-терні для говорів південно-західного наріччя української мови. Джерелами дослідження слугували історичні та регіональні словники (Є. Желехівський, С. Недільський, П. Білецький-Носенко, Д. Яворницький, Б. Грінченко та ін.), а також діалектні тексти та лінгвістичні атласи. Семантичні зміни, виявлені на підставі аналізу історичних джерел і пам’яток української мови від ХІ ст., зафік-совано на різних історичних етапах. Це дало змогу не тільки окреслити особливості діалектної кар-тини світу діалектоносіїв, відмінності у їхньому світогляді, знаннях та колективному досвіді, а й репрезентувати особливості діалектної номінації, деривації та семантики.Діалектні відомості подано в семи порівняльних таблицях, які фіксують деривацію та семантику аналізованих лексем, а також семантичні зміни прикметників гíрськúй / гóрський, горíшний. Задоку-ментовано найдавніші фіксації дериватів від ХІ ст. та семантичну еволюцію слів. Аналіз формальних і семантичних структур дериватів підтвердив, що семантика базового слова є основою для форму-вання семантики дериватів.This paper deals with the problem of correlation between the formal and semantic structure of derivatives. The paper suggests examples of derivative of the root -гор- (-гір-, -гур-) and represents the semantic opposition ‘top’ ↔ ‘bottom’ – fragments of the derivative clusters of the base words of the opposition гора ‘mountain’, ‘top’.The corpus of adjectives with the root -гор- (-гір-, -гур-) amounts to more than 60 units. It describes the orientation of objects in the space as well as identifies the spatial qualification of an object and models the coordinate system of the linguistic (resp. dialectal) worldview. The author scrutinizes the semantics of the adjectives: unprefixed derivatives of the 1st and 2nd degrees of derivation (гíрний / гóрний, горáвий, горúстий, горíшний, гірськúй, гóряний, горíський, etc.); prefixal-suffixal formations (згíрний, згірнúстий, загíрний, нагíрний, пагористий, etc.), and compounds (крутогóрий, плоскогíрний, простогíрний, etc.). The semantic structure of adjectives is analyzed within two semantic subcomplexes: ‘the top of the object’ and ‘high / low limit’. The subcomplexes unite the meanings of the adjectives, which are structured hierarchically. All meanings (components of the semantic structure) are illustrated by examples of dialectal speech. These meanings represent different aspects of the Ukrainians’ life.The analysed units represent semantic and typical features for the south-western dialects of the Ukrainian language. The sources of the study are historical and regional dictionaries (by Ye. Zhelekhivskyi, S. Nedilskyi, P. Biletskyi-Nosenko, D. Yavornytskyi, B. Hrinchenko, etc.) and texts as well as linguistic atlases. Semantic changes, as based on the analysis of historical sources and manuscripts of the Ukrainian language from the 11th century, were recorded at different historical stages. It is possible to identify the specific features of the perception of the world and differences in the worldview of dialect speakers, their knowledge, and collective experience, and represent the specific features of dialect nomination, derivation, and semantics.The dialectal data provided in the 7 comparative tables of the lexeme’s derivation and semantics, and what is more, semantic changes of the adjectives гíрськúй / гóрський and горíшний. The oldest fixations of derivatives from the 11th century and the semantic evolution of the words are documented. The analysis of the formal and semantic structures of derivatives proved that the semantics of the base word is the basis for the formation of the semantics of derivatives.

Linguistic and Cultural Perceptions of Selected Occupations in Eighteenth-Century Proverbs (on the Basis of "Nowy dykcjonarz" by Michał Abraham Troc)

Linguistic and Cultural Perceptions of Selected Occupations in Eighteenth-Century Proverbs (on the Basis of Nowy dykcjonarz by Michał Abraham Troc)This paper is an attempt to show the possibilities offered by an analysis of a historical dictionary in researching the old ways of perceiving, categorizing and evaluating the world. The observations in question are based on proverbs extracted from Nowy dykcjonarz by Michał Abraham Troc, which is one of the most significant achievements of Polish lexicography of the eighteenth century.Using the methodology of linguistic worldview reconstruction, the authors present the ways of perceiving certain occupations (shoemakers, blacksmiths, wheelwrights, cooks, doctors, executioners) by people in the eighteenth century and provide the cultural context of these perceptions. The analysis demonstrates that language is not only a communication tool, but also a carrier of the collective experience and outlook on life. Językowa i kulturowa percepcja zawodów w XVIII-wiecznych przysłowiach (na materiale Nowego dykcjonarza Michała Abrahama Troca)Celem niniejszego tekstu jest wskazanie możliwości, jakie daje analiza słownika historycznego w badaniu dawnych sposobów postrzegania, kategoryzowania i wartościowania świata. Rozważania te opierają się na przysłowiach zaczerpniętych z Nowego dykcjonarza Michała Abrahama Troca. Słownik ten jest jednym z najważniejszych osiągnięć polskiej leksykografii XVIII wieku.Posługując się metodologią językowego obrazu świata, autorzy rekonstruują językowo-kulturowy sposób postrzegania zawodów (szewców, kowali, kołodziejów, kucharzy, lekarzy, katów) utrwalony w osiemnastowiecznych przysłowiach. Przedstawiona analiza dowodzi, że język jest nie tylko narzędziem komunikacji, ale także nośnikiem zbiorowego doświadczenia i poglądu na świat.

A city is not a tree

<p>This research investigates the generation of urban environments through the use of visual programming tools. These tools enable the procedural creation of architectural geometries for installation in design environments, with a focus on producing outputs for virtual implementation, including small scale built environments, individual buildings, city blocks, and neighbourhoods. The creation of large-scale urban environments is a complex and time-consuming task. Subsequently, this field of research has a high level of relevance in the areas of architecture, design, urban planning, film, entertainment, and so forth. In most situations, the groups responsible for the creation of these environments do not contain members with architectural backgrounds. Instead, they consist of designers, computer scientists, technicians, and other specialists. These groups are reliant on their collective experience, skill, and reference materials to create their works. This thesis proposes that architects possess knowledge, skills, and training suitable for utilisation by this industry. As such, this research explores applying an architectural education with a greater multidisciplinary focus. This investigation concludes that while visual programming tools are incredibly powerful, they have their limitations. This research further concludes that because there are so many facets to the creation of these environments this area of investigation is best suited to a team of researchers. While individuals can achieve a significant amount, the contribution of outside parties would have had benefits at every stage of the work. The sharing of knowledge, skills, and understandings would allow for the creation of systems that function to generate the best outcomes possible.</p>