Expressing the Author's Position in the English-Language Network Film Review

Introduction. The article presents the results of the analysis of the author’s position verbalization methods in the English online professional film review addressed to the mainstream audience. The authors proceed from the position that the methods of subject verbalization are determined by functional characteristics of discourse. The relevance of the study is due to the interest of modern linguistics in the study of the subject factor in “personal” types of discourse. The paper considers the factor of the subject in the discourse, defines the concepts of authorization and its nomination, analyzes the role of identifying categories of subjective modality and describing prevalent evaluation types in the study of the author's position in evaluative genres.Methodology and sources. Research methodology is based on the approaches to classification of modus and evaluation types developed by N.D. Arutyunova. The methodology of describing the author's position in evaluative genres is proposed, which boils down to the following steps: identifying the leading linguistic means of self-nomination; displaying main genre-typical patterns of subject modality (modus types); describing evaluation semantics specificity and linguistic means of dominant evaluative meanings verbalization. The study was conducted on the material of the corpus of texts selected on the English-language portal metacritic.com which includes 50 professional film reviews addressed to a wide audience (39,765 words in length).Results and discussion. Based on the methods of quantitative and contextual analysis the distribution of modus types verbalized by “subject-predicate” models with personal subject-representing pronouns was carried out; the distribution of personal and possessive pronouns as the main method of self-nomination in the discourse of the network English-language professional film review was revealed; on the basis of the analysis of the semantics of evaluative adjectives of the corpus, the types of evaluative meanings in the genre under study were identified. The leading methods of discourse subject nomination were shown to involve the 1-st person pl. inclusive pronoun, which indicates the author’s intention to establish a connection with the reader and to increase the manipulative potential of the text. The main types of evaluative meanings verbalized by the corpora adjectives were identified, which are emotional, intellectual, aesthetic and regulatory types.Conclusion. The conducted research allowed us to conclude that the specificity of the expression of the author's position in professional network film review is reduced to the following characteristics: the dominant nature of the perceptual mode and the mental mode of knowledge in the field of subjective modality of texts; the predominance of first-person plural pronouns in an inclusive meaning as a means of self-nomination of the subject discourse and the dominance of partial-evaluative meanings over general-evaluative ones. The predominance of emotional-psychological and intellectual-psychological types of evaluation indicates the author's intention to express an individualized subjective-emotional opinion about the evaluated object.

Thermal vision

This article describes thermal vision, the ways of seeing invisible thermal emissions and exchanges. While most studies of thermal vision have focused on the deployment of infrared imaging in military and police operations, the author articulates thermal vision as a perceptual mode that both extends beyond the infrared camera to a broader set of practices of seeing heat as well as beyond the militarized view to scientific, commercial, and cultural landscapes. Weaving through these practices and landscapes, she outlines four overlapping ways that thermal vision is oriented and in turn organizes the world: through thermal effects, hue, objects, and zones. Focusing on the latter form, and taking cases from early infrared photography in the 1930s and the expansion of building thermography in the 1970s, she argues that the thermal imagery used for visual surveillance, often as a means of objectification and targeting, is intimately connected to regimes of environmental monitoring and the creation and management of normative zones. A close attention to these cases draws out one of thermal vision’s critical affordances and cultural uses, regardless of technological platform or orientation: entangled with practices of temperature control and synesthetic processing, it has been enlisted to alter architectures, environments, and bodily movements through them. Observing these uses expands visual culture studies’ understanding of the sensory possibilities of the visible and helps scholars to track the affective and intimate dimensions of climate change.

Deslocamentos ontológicos: multissensorialidade e corporalização na terceira onda das interfaces digitais[Andrea Davidson. Tradução: Maria Albertina Silva Grebler, Diego Pizarro]

<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p3">Através do exame da ontologia e do lugar da dança digital no espectro da expressão coreográfica contemporânea, este artigo se propõe a considerar a interação e o agenciamento do interoceptivo (somático) e do exteroceptivo (tecnológico) na terceira onda das interfaces digitais para a dança. Ele argumenta que uma ontologia da dança digital pode ser qualificada sumariamente como um modo <em>ativo de experiência sensório-perceptiva </em>capaz de revelar novas dimensões da recepção estética, modos de performatividade e expressões da presença corporal na dança que emergem com/através do <em>corpo mediado</em>. Ele não considera a tecnologia como estrangeira, como um agenciamento autônomo, um sistema ou uma simples ferramenta, mas sim como um meio de estimular a consciência sensória expandida e forjar relações com a experiência corporal somática (interna) do indivíduo. Referindo-se a uma série de trabalhos recentes que estabelecem as condições para tais experiências, considera ainda de que forma os trabalhos digitais desenvolvem e enfatizam a <em>perspectiva </em>como uma estratégia dramatúrgica e estética e, consequentemente, como as novas interfaces de mídia para a dança podem ser consideradas “<em>novos dispositivos de ver-sentir</em>”.<span class="Apple-converted-space"> </span></p><p class="p4"><span class="s1">P</span>alavras<span class="s1">-</span>chave<span class="s1">:<span class="Apple-converted-space"> </span></span>Dança digital. Corporalização. Performance interativa. Cognição corporalizada. Novos dispositivos de ver-sentir.<span class="Apple-converted-space"> </span></p><p class="p4"><span class="Apple-converted-space"><br /></span></p><p class="p1"><em>ONTOLOGICAL SHIFTS: MULTI-SENSORIALITY AND EMBODIMENT IN A THIRD WAVE OF DIGITAL INTERFACES</em></p><p class="p1"><em>Abstract:<span class="Apple-converted-space"> </span></em></p><p class="p3"><em>Examining the ontology and place of digital dance within the spectrum of contemporary choreographic expression, this article proposes to consider the interweaving of interoceptive (somatic) and exteroceptive (technological) agency in a third wave of digital interfaces for dance. It argues that an ontology of digital dance might be summarily qualified as an active sensory-perceptual mode of experiencing, capable of revealing new dimensions of aesthetic reception, modes of performativity and expressions of corporeal presence in dance that emerge with/through the mediated body. It views technology not as a foreign, autonomous agency, system or simple tool, but rather as a means of stimulating heightened sensory awareness and forging relations with the individual’s somatic (inner) bodily experience. While referencing a range of recent works that establish the conditions for such experiences, it further proposes to consider how digital works develop and underscore perspective as a dramaturgical strategy and aesthetic, and as a consequence, how new media interfaces for dance can be considered ‘new viewing-sensing device’.<span class="Apple-converted-space"> </span></em></p><p class="p4"><span class="s1"><em>K</em></span><em>eywords</em><span class="s1"><em>:<span class="Apple-converted-space"> </span></em></span><em>Digital dance. Embodiment. Embodied cognition. Interactive performance. </em>New viewing-sensing devices.<span class="Apple-converted-space"> </span></p>

Finding the Balance Between Process and Product through Perceptual Lesson Planning

Background/Context Lesson planning is one of the most common activities required of teachers; however, since the late 1970s and early 1980s, it has not been a major focus of study, either conceptually or empirically. Although there are recent articles on the topic, much of the current work is specific to examining a particular teaching method or subject area. This essay not only examines the lesson planning process, a neglected area of study, but also puts forward a perceptual or arts-based approach to lesson planning that has not been attended to since Elliot Eisner's essays on objectives. Purpose/Objective/Research Question/Focus of Study The purposes of this conceptual paper are is to provide theoretical grounding for perceptual lesson planning; to analytically examine the two current, dominant approaches to creating lesson plans; and to put forward ideas that undergird a fresh approach to creating and analyzing lesson planning. Research Design This study consists of a major literature review and a related conceptual argument. We also present qualitative data (a lesson plan with attendant interview material) and preliminary findings from an ongoing study. Analytic Framework We use an original analytic framework to discuss the two dominant approaches to lesson planning, the behaviorist and constructivist modes, and to compare them to the perceptual mode. Our analytical categories consist of the following: intentions, process, product, and outcomes. By intentions we mean the aims, goals, or objectives of the lesson plan. The process refers to how the lesson plan is created and what that experience is like for the teacher. Product refers to the actual lessons that result from the planning. Outcomes refer to both the anticipated results of the lesson as well as the general kinds of student outcomes desired in the mode of lesson planning. Conclusions/Recommendations Perceptual lesson planning may be characterized as engaging teachers’ and students senses and creativity; as an artistic endeavor that is joyful in and of itself; as consisting of various stylized products; and leading toward meaningful learning for students and teachers in an environment open to elements of surprise and innovation. Lesson planning may be functional and meaningful to teachers and subsequently their students. Lesson planning could be something teachers enjoy, learn from, and appreciate. Thus, we note that focusing on the process of lesson planning is an important part of education that warrants much more attention.

DOES PERCEPTUAL ACUITY MATTER? — AN INVESTIGATION OF ENTREPRENEURIAL ORIENTATION, PERCEPTUAL ACUITY, AND FIRM PERFORMANCE

One critical proposition in normative strategic management research is that an accurate perception of the environment by top managers is a prerequisite to attaining better organizational performance. However, recent entrepreneurship studies suggest that entrepreneurs are often leading or even causing environmental changes, and thus they may perceive greater industrial instability than there actually is. In this project, we examine if an over-perception of industrial instability exists among entrepreneurs. If it does, which perceptual mode (accurate perception versus over-perception) will benefit firm performance? We conducted the study in a highly volatile environment — China — and found that entrepreneurial orientation (EO) had an inverse U-shape relationship with perceptual acuity of industrial instability, indicating that a greater level of EO indeed led to an over-perception of industrial instability. However, we found that although perceptual acuity of industrial instability improved firm sales, it was negatively associated with organizational effectiveness evaluated by top managers. Additional analyses were conducted and implications were provided in the end.

Performance Characteristics and Accuracy in Perceptual Discrimination of Leather and Synthetic Basketballs

Performance characteristics of leather and synthetic basketballs were examined by measuring the basketballs' rebound heights on five types of playing surfaces (Tartan, asphalt, glass, concrete, hardwood). Comparing the basketballs' performance on the basis of their coefficients of restitution (e = height of rebound/height of drop) analysis of variance showed that the leather basketball rebounded significantly higher than the synthetic basketball on all surfaces. To assess the capability of individuals to discriminate perceptually between the balls 30 male and 30 female undergraduates were asked to determine whether basketballs randomly presented 20 times under four different treatment conditions (visual, tactual-kinesthetic static, tactual-kinesthetic dynamic, auditory) were leather or synthetic. Chi squared analysis of their accuracy across all four perceptual modes showed no significant difference. However, analysis by perceptual mode did produce significant differences, indicating subjects were more accurate in identification in the tactual-kinesthetic dynamic and static modes than in the visual and auditory.