I begin by reviewing recent research by Merleau-Ponty scholars opposing aspects of the critique of Merleau-Ponty made by Meltzoff and colleagues based on their studies of neonate imitation. I conclude the need for reopening the case for infant self-other indistinction, starting with a re-examination of Merleau-Ponty’s notion of indistinction in the Sorbonne lectures, and attending especially to the role of affect and to the non-exclusivity of self-other distinction and indistinction. In undertaking that study, I discover the importance of understanding self-other (...) distinction and indistinction in terms of their affective significance. For Merleau-Ponty, self-other indistinction is a virtual or imaginary participation in others’ orientations that he defines as an affective phenomenon. Further, Merleau-Ponty’s account of the advent of the body proper—the aspect of the body image that circumscribes the body as a distinct and private space—theorizes it as an affective innovation. Rather than being a fact of which we at first are ignorant and gradually grow to recognize, distinction from others in the sense that is important to Merleau-Ponty is a situation that must be cultivated and maintained through the negotiation of affective intimacy. Understanding indistinction and distinction in terms of the affective forces that sustain them explains how it is possible for them to coexist. (shrink)

This paper explores the public perception of energy transition pathways, that is, individual behaviors, political strategies, and technologies that aim to foster a shift towards a low-carbon and sustainable society. We employed affective image analysis, a structured method based on free associations to explore positive and negative connotations and affective meanings. Affective image analysis allows to tap into affective meanings and to compare these meanings across individuals, groups, and cultures. Data were collected among university (...) students in Norway (n = 106) and Germany (n = 125), two countries that differ with respect to their socio-political contexts and histories concerning energy and energy systems. A total of 25 energy transition pathway components were presented to the participants who generated one free association to each component by indicating the first that came to mind when thinking of the component. Participants evaluated their associations by indicating whether they considered each association to be positive, negative, or neutral. These associations were coded by two research assistants, which resulted in 2650 coded responses in the Norwegian sample and 2846 coded responses in the German sample. Results for the two samples are remarkably similar. The most frequent type of association is a general evaluation of the component, for example concerning its valence or its importance. The second most frequent types of association are requirements needed to implement the component (e.g., national policies) and consequences of the component (e.g., personal or environmental consequences). Individual behaviors (e.g., walking) elicited thoughts about consequences and requirements, but also about the prevalence of such behaviors. Associations in response to technologies (e.g., carbon capture and storage) mainly referred to some descriptive aspect of the technology. Evaluations of the free responses were predominantly positive, but some components also elicited negative associations, especially nuclear power. The free associations that people generate suggest that they have vague and unspecific knowledge about energy transition pathways, that they process them in an automatic and intuitive rather than deliberative manner, and that they have clear affective evaluations of the presented components. (shrink)

Destination image is essential to tourists' loyalty and has been discussed in length among researchers and marketers in the tourism industry for decades. Based on a literature review, the destination image model, including cognitive image, affective image, and conative image, has been firmly established as an acceptable means to gain an understanding of tourists' behavior toward revisiting and recommendations. The understanding of the moderating role of cultural constructs is still unclear, especially in cross-cultural travel (...) behavior. Therefore, this conceptual paper proposes an integrated model of cognitive-affective-conative image that includes the constructs of individualism and uncertainty avoidance. Based on the underpinning theories and empirical studies, this paper proposes affective image potentially mediates the correlation between cognitive image and conative image. This model also incorporated individualism and uncertainty as potential moderating effects between affective image and conative image. By integrating individualism and uncertainty avoidance into the theoretical model from the perspective of tourism, this paper contributes to a more comprehensive understanding of the influence of travel behavior on emerging tourism marketing. (shrink)

The goal of this study was to evaluate affective changes induced during mental imaging of instinctual action patterns. Subjects were first trained to simulate the bodily rhythms of laughter and crying and were then trained to image these processes without any movement. The mere imagination of the motor imagery of laughter and crying were sufficient to significantly facilitate happy and sad mood ratings as monitored by subjective self-report. In contrast, no changes in mood were reported while imaging the (...) affectively neutral task of walking. The work suggests that motor imagery is sufficient to modify emotional feelings, suggesting the feasibility of this method for brain imaging of emotional processes. (shrink)

Acknowledgements -- Introduction: transformation, potential, futures -- Screening affect : images, representational thinking and the actualization of the virtual -- Bringing the image to life : interactive mirrors and intensive experience -- Becoming different : makeover television, proximity and immediacy -- Immanent measure : interaction, attractors and the multiple temporalities of online dieting -- Pre-empting the future : obesity, prediction and change4life -- Conclusion : transforming images : sociology, the future and the virtual -- Bibliography -- Index.

This article is concerned with the relationship between body, image and affect within consumer culture. Body image is generally understood as a mental image of the body as it appears to others. It is often assumed in consumer culture that people attend to their body image in an instrumental manner, as status and social acceptability depend on how a person looks. This view is based on popular physiognomic assumptions that the body, especially the face, is a (...) reflection of the self: that a person’s inner character or personality will shine through the outer appearance. The modification and cosmetic enhancement of the body through a range of regimes and technologies can be used to construct a beautiful appearance and thereby a beautiful self. The article begins by examining body images in consumer culture and their relation to photography and moving images. This is followed by an examination of the consumer culture transformative process through a discussion of cosmetic surgery. The article then questions the over-simplistic logic that assumes that transformative techniques will automatically result in a more positive and acceptable body image. The new body and face may encourage people to look at the transformed person in a new way. But the moving body, the body without image, which communicates through proprioceptive senses and intensities of affect, can override the perception of the transformed appearance. A discussion of the affective body follows, via a closer examination of the body without image, the opening of the body to greater affect and indeterminacy. The affective body image and its potential greater visibility through new media technologies are then discussed through some examples taken from digital video art. The article concludes by examining some of the implications of these shifts within consumer culture and new media technologies. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

Image has been considered an influential factor in tourists’ perceptions and evaluations of a destination. This paper analyzes the formation of the tourist destination image of Segóbriga Archaeological Park, a cultural destination of great heritage value, located in the province of Cuenca (Spain). The image is analyzed using a multidimensional approach, considering not only its cognitive and affective components, but also the unique-image component. The latter has received less attention in the literature and is a (...) novelty in the context of this type of cultural destination. The results show that this component is essential to the overall image of an archaeological destination and that it is not influenced by information sources. PLS-SEM was used. (shrink)

In the current socioeconomic environment, brands increasingly need to portray societal and ethical commitments at a corporate level, in order to remain competitive and improve their reputation. However, studies that relate business ethics to corporate brands are either purely conceptual or have been empirically conducted in relation to the field of products/goods. This is surprising because corporate brands are even more relevant in the services sector, due to the different nature of services, and the subsequent need to provide a consistent (...) high-quality customer experience across all the brand–customer interactions and touch-points. Thus, the purpose of this article is to study, at a corporate brand level and in the field of services, the effect of customer perceived ethicality of a brand on brand equity. The model is tested by structural equations, using data collected for eight service categories by means of a panel composed of 2179 customers. The test of measurement equivalence between these categories is conducted using generalizability theory. Confirmatory factor analysis marker technique is applied in order to check for common method variance. The results of the hypothesized model indicate that customer perceived ethicality has a positive, indirect impact on brand equity, through the mediators of brand affect and perceived quality. However, there is no empirical evidence for a direct effect of customer perceived ethicality on brand equity. (shrink)

Resumen: El presente artículo analiza el problema de la afectividad en la concepción de la Fenomenología de la vida del filósofo francés Michel Henry, quien la concibe como fundamento de la subjetividad y esencia de la manifestación. Henry realiza un análisis de la obra del pintor Vasily Kandinsky, y muestra cómo la pintura abstracta, no figurativa, logra expresar en los colores y formas aquello invisible que es la esencia de la pintura y que coincide a su vez con la Vida. (...) La concepción de abstracción elaborada por Kandinsky refiere al contenido invisible e interior, que se expresa a través de colores y formas, pero que es la vida misma en su pathos subjetivo fundamental. De este modo, según Henry, el arte se transformaría en único lenguaje para expresar la radicalidad de la vida afectiva, porque no representa nada exterior o extraño, su contenido es la vida misma.: The present article analyzes the problem of affectivity in French philosopher Michel Henry's conception of Phenomenology of life, conceived of as the foundation of the subjectivity and the essence of the manifestation. Henry analyzes the work of the painter Vasily Kandinsky, showing how abstract and non-figurative painting expresses in colors and forms something invisible, which is the essence of the painting and coincides with the Life. Kandinsky's conception of abstraction refers to the invisible and the inner content, which expresses itself through colors and forms, being the life itself in its fundamental subjective pathos. In this way, the art becomes the only language capable to express the radicality of the affective life, because it does not represent anything exterior or foreign, being its content the life itself. (shrink)

The study will focus on the relationship between the representations of God’s image in the Bible and on film. How is transcendence presented and what is Christology like in film production in the time that is either negligent of the religious and the transcendental or tries to reduce it to a matter of human intellect? How does Christ differ in the films by Pasolini, Zeffirelli and Gibson? Can Jesus Christ the Saviour be replaced by a popular action movie hero? (...) The paper will deal with religion from another perspective, namely, it will try to see whether religion has truly disappeared from the public life as it is sometimes assumed. How were the ideas about God used or misused by some politicians and leaders, such as Osama bin Laden, Saddam Hussein, and George W. Bush? What to do if the media enable us to perceive how religion is made political and how politics is made religionist? (shrink)

Humans are emotionally affected by cute or infantile appearances, typical of baby animals and humans, which in turn often leads to careful and cautious behavior. The purpose of this pre-registered study was to examine whether looking at cute images of baby pets improves performance of computerized cognitive-motor tasks. Ninety-eight participants were recruited for this online study and were randomly assigned to two experimental groups. The participants in one group performed two cognitive-motor tasks before and after viewing images of adult pets (...) and the participants in the other group performed the tasks before and after viewing images of baby pets. The participants who viewed images of baby pets rated them as significantly cuter and more infantile compared with those who viewed images of adult pets. All participants improved their performance from the pre-test to the post-test, but no differences in correct responses and reaction times were seen between the groups. However, pet ownership appeared to serve as a moderating variable with pet owners performing the Simon task faster than non-pet owners. In addition, pet owners reacted faster in the alternate task-switching task after viewing cute and infantile images but not after viewing images of adult pets. This effect was not found among non-pet owners. In conclusion, this study did not find that viewing cute images improves cognitive-motor performance, yet this may be dependent on moderators like pet ownership. (shrink)

Previous research suggests that exposure to nature may reduce delay discounting and thereby facilitate healthier dietary intake. This pre-registered study examined the impact of online exposure to images of natural scenes on delay discounting and food preferences. It was predicted that exposure to images of natural scenes would be associated with: lower delay discounting; higher desirability for fruits and vegetables ; and delay discounting would mediate the effect of nature-image exposure on food desirability. Adult participants were recruited to an (...) online between-subjects experiment in which they viewed a timed sequence of six images either showing natural landscape scenes or urban scenes. They then completed measures of mood, delay discounting and rated their momentary desire to eat four fruits and vegetables, and four energy-dense foods. There was no statistically significant effect of experimental condition on delay discounting or food desirability. Bayes factors supported the null hypothesis for discounting, and energy-dense food desirability, but provided no strong evidence for either hypothesis for F&V desirability. These findings indicate that brief online exposure to images of nature does not affect momentary impulsivity or energy-dense food preference, whereas for preference for less-energy dense foods, the evidence was inconclusive. (shrink)

Representations of intense emotions are rare in the Chinese visual tradition in comparison with their counterpart in literary convention. While the reasons for this deserve an in-depth interdisciplinary study, such general reservation contrastingly highlights a distinct visual phenomenon that emerged and flourished during the middle period. This time period witnessed a growing number of visual representations of grieving figures in funerary and religious contexts. By articulating various representational modes of mourning images, this essay discusses a significant development in the emotional (...) lives of middle-period Chinese. Occupying seemingly disparate ritual spaces the images of sorrowful mourners conspicuously emerged as an appealing motif for adorning the burial spaces of their deceased. These two sites of intense affect reveal that era’s desire for placing the virtual mourner in the space designed for the dead as a visual agency conveying the emotive surrounding the death of the beloved, be they local monks or family members, who often lacked literary means to express their feelings. Recognizing this affective mode helps us to better understand the complex interplay between the emotions, the social and cultural sanctions in expressing them, and the visual codes created thereof, in post-medieval China. (shrink)

Representations of intense emotions are rare in the Chinese visual tradition in comparison with their counterpart in literary convention. While the reasons for this deserve an in-depth interdisciplinary study, such general reservation contrastingly highlights a distinct visual phenomenon that emerged and flourished during the middle period. This time period witnessed a growing number of visual representations of grieving figures in funerary and religious contexts. By articulating various representational modes of mourning images, this essay discusses a significant development in the emotional (...) lives of middle-period Chinese. Occupying seemingly disparate ritual spaces the images of sorrowful mourners conspicuously emerged as an appealing motif for adorning the burial spaces of their deceased. These two sites of intense affect reveal that era’s desire for placing the virtual mourner in the space designed for the dead as a visual agency conveying the emotive surrounding the death of the beloved, be they local monks or family members, who often lacked literary means to express their feelings. Recognizing this affective mode helps us to better understand the complex interplay between the emotions, the social and cultural sanctions in expressing them, and the visual codes created thereof, in post-medieval China. (shrink)

‘제인 진 카이젠(Jane Jin Kaisen)’의 영화 〈이별의 공동체(2019)〉는 바리의 신화를 제주를 비롯한 한반도의 분단된 각 영토와 각기 다른 시간대의 현대사와 맞닿게 하며 디아스포라, 여성과 소수자의 기억을 미학적, 윤리적 태도로 제시한다. 이 글은 〈이별의 공동체〉를 오이코스인 조에의 계보학적 탐구로 이해한다. 서사의 추동은 버려짐의 갱신된 의미를 통과하는, 이산의 이미지와 제주 4. 3 항쟁의 생존자이자 심방 고순안의 제례의 반복적 이미지로 엮인다. 영화에서 디아스포라는 순수한 기원의 동질한 공동체를 문제시 하면서, ‘우리’의 기억으로 수렴할 수 없는 이질적 시간성을 드러낸다. 이별의 공동체는 바리의 제례를 통해 파편화된 기억 (...) 이미지들을 연결하고 사건을 일으키는 아카이브를 제시한다. 이 글은 바르부르크의 잔존 개념을 해석한 디디-위베르만의 논의와 들뢰즈의 정동 개념으로 〈이별의 공동체〉에서 바리를 조에의 역량으로 이질적 시간성들을 산포하는 정념이자 정동적인 것으로 설명한다. 〈이별의 공동체〉는 트라우마적 사건의 말 잃음이나 대안적 역사 서술을 넘어 각기 다른 시간성들의 계보를 그리며 시대착오적 동시대의 서사를 실행하는 기억의 공동체인 조에의 공동체를 형성한다. (shrink)

Radiography images are widely utilized in the health sector to recognize the patient health condition. The noise and irrelevant region information minimize the entire disease detection accuracy and computation complexity. Therefore, in this study, statistical Kolmogorov–Smirnov test has been integrated with wavelet transform to overcome the de-noising issues. Then the cat swarm-optimized deep belief network is applied to extract the features from the affected region. The optimized deep learning model reduces the feature training cost and time and improves the overall (...) disease detection accuracy. The network learning process is enhanced according to the AdaDelta learning process, which replaces the learning parameter with a delta value. This process minimizes the error rate while recognizing the disease. The efficiency of the system evaluated using image retrieval in medical application dataset. This process helps to determine the various diseases such as breast, lung, and pediatric studies. (shrink)

Images That Move is concerned with how images take place in wider worlds: how they move around, via processes of transmission and uptake, but, equally importantly, how they move their audiences affectively. Images play a significant part in projects of "poetic world-making" and political transformation. They participate in the production of commensuration or of incommensurability, enact moments of prophecy or exposure, and attract or repel spectators' attention. Images move, then, but not just as they wish, and any examination of images (...) in motion must also recognise the blockages and breakdowns that prevent their movement as well as the enframings or "stickinesses" that trap them in particular places, prevent them from reaching others, or hedge their arrival in specific ways. The contributors explore topics ranging from high art to mass media, religious iconography to pornography, and popular photography to political cartoons in a range of contexts and media including photography in early twentieth century China, art and literature in contemporary South Africa, upscale real estate development in India, occult media images and the aesthetic of appearance in urban Indonesia, and film censorship in Nigeria. All of these instances of the visual continuum require different ways of highlighting and addressing the problematics of images in motion. Images That Move traces some of the tangled paths of images' travels and returns, unfolding their effects and aftereffects and scanning the diverse and variable publics-fixed or ephemeral, situated or dispersed-that these moving images call into being. Contributors: Ernst van Alphen, Christiane Brosius, Steven C. Caton, Finbarr Barry Flood, Brian Larkin, Oliver Moore, Rosalind C. Morris, Christopher Pinney, Patricia Spyer, Mary Margaret Steedly. (shrink)

Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...) painter’s whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters’ own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. -/- The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters’ experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike. (shrink)

It is well known that aggregating the degree-of-belief functions of different subjects by linear pooling or averaging is subject to a commutativity dilemma: other than in trivial cases, conditionalizing the individual degree-of-belief functions on a piece of evidence E followed by linearly aggregating them does not yield the same result as rst aggregating them linearly and then conditionalizing the resulting social degree- of-belief function on E. In the present paper we suggest a novel way out of this dilemma: adapting the (...) method of update or learning such that linear pooling com- mutes with it. As it turns out, the resulting update scheme – imaging on the evidence – is well-known from areas such as the study of conditionals and cau- sal decision theory, and a formal result from which the required commutativity property is derivable was supplied already by Gärdenfors in a different con- text. We end up determining under which conditions imaging would seem to be right method of update, and under which conditions, therefore, group update would not be affected by the commutativity dilemma. (shrink)

The influence of imagery on perception depends on the content of the mental image. Sixty-three students responded to the location of the 2 hands of a clock while visualizing the correct or an incorrect clock. Reaction time was shorter with valid cueing. Could this have resulted from visual acquisition strategies such as planning visual saccades or shifting covert attention? No. in this study, a crucial control condition made participants look at rather than visualize the cue. Acquisition strategies should have (...) affected equally both types of cueing, but we observed that the effect of the visual cue was smaller and limited to a particular subcase in which one expects visual acquisition strategies. Thus, what matters is the similarity of the content of the mental image with the visual scene. In addition, an interaction involving the hand used for responding supports the notion that composite imagery is lateralized. (shrink)

Borderline personality disorder is a complex psychopathological phenomenon. It is usually thought to consist in a vast instability of different aspects that are central to our experience of the world, and to manifest as “a pervasive pattern of instability of interpersonal relationships, self-image, and affects, and marked impulsivity” [American Psychiatric Association, 2013, p. 663]. Typically, of the instability triad—instability in self, affect and emotion, and interpersonal relationships—only the first two are described, examined, and conceptualized from an experiential point of (...) view. In this context, disorders of self have often motivated analyses of self-experience and the sense of self, affective disorders have been frequently considered in the light of emotional experience and its phenomenological structure. Patterns in the phenomenology of social experience have found comparatively little traction when it comes to the conceptualization of the interpersonal disturbances in borderline. In this paper, I argue that interpersonal instability in borderline consists in much more than fragile and shifting relationships but, most importantly, also involves certain styles in experiencing others. These styles, I suggest, may play an explanatory role for the borderline-typical patterns of interpersonal turmoil and so deserve more attention. To better describe and understand these styles, I explore the phenomenological structure of borderline affective instability and discuss the implications it might have for how a person experiences and relates to other people. Considering core aspects of borderline affective instability, such as alexithymia, emotional contagion, emotion dysregulation, and chronic emptiness, I propose borderline can be interpreted as a disturbance of interaffective exchange, which gives rise to certain ways of experiencing others that imply a social impairment. (shrink)

It is well known that aggregating the degree-of-belief functions of different subjects by linear pooling or averaging is subject to a commutativity dilemma: other than in trivial cases, conditionalizing the individual degree-of-belief functions on a piece of evidence E followed by linearly aggregating them does not yield the same result as rst aggregating them linearly and then conditionalizing the resulting social degree- of-belief function on E. In the present paper we suggest a novel way out of this dilemma: adapting the (...) method of update or learning such that linear pooling com- mutes with it. As it turns out, the resulting update scheme – imaging on the evidence – is well-known from areas such as the study of conditionals and cau- sal decision theory, and a formal result from which the required commutativity property is derivable was supplied already by Gärdenfors in a different con- text. We end up determining under which conditions imaging would seem to be right method of update, and under which conditions, therefore, group update would not be affected by the commutativity dilemma. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Quan Zhou Wu and Linaje’s GenealogyJulia Haeyoon Chang (bio) Click for larger view View full resolutionQuan Zhou WuENJOY (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 5] Click for larger view View full resolutionQuan Zhou WuUNA DE ELLAS (Linaje 2024)Art and design by Quan ZhouWu Digital infrastructure by Marco Fratini[End Page 6] Click for larger view View full resolutionQuan Zhou WuMEMORIAS RETORCIDAS(Linaje (...) 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 30] Click for larger view View full resolutionQuan Zhou Wu,NEGATIVOS (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 31] Click for larger view View full resolutionQuan Zhou WuELLAS Y YO (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 49] Click for larger view View full resolutionQuan Zhou Wu,STATEMENT (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 74] Click for larger view View full resolutionQuan Zhou WuLAS ARTISTAS QUE NO FUIMOS (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 75]Quan Zhou Wu’s followers will surely be struck—as I was—by the multisensory digital exhibit “Linaje” (“Lineage”), which was published in 2024 and departs, perhaps unexpectedly, from the artist’s previous well-established oeuvre. Before delving into the work in question, it may be fruitful first to have a glimpse at the artist’s iconic aesthetic. In 2015, and at the age of twenty-seven, Wu, a self-taught artist, debuted her first graphic memoir, Gazpacho Agridulce. The book commences with her parents’ newfound life in Spain after leaving Qingtian, a province of Zhejiang, China, to run a restaurant in Algeciras, a municipality of Cadiz. The opening pages of Gazpacho pack a punch, depicting Wu’s dramatic and untimely birth in a taxicab en route to the hospital.Gazpacho’s publication initiated a crucial sea change in the predominantly white Spanish publishing world, which would soon after be rocked by a boom of racialized1 authors penning anti-racist memoirs and other works of non-fiction.2 Gazpacho would also eventually become the first of the author’s trilogy of graphic memoirs, which was completed by the sequels Andaluchinas por el mundo (2017) and the most recent La agridolce vita (2023).Wu’s narratives capture the familial, identarian, and social conflicts that erupt from cultural disloyalties and racism—direct consequences of migration. She and her sisters, for example, loathe their family’s rigid Chinese and Christian mores and long for the cultural markers of an ordinary Spanish childhood, structured of course by U.S. global consumer culture, e.g. Barbie, Pizza Hut, and McDonald’s.An illustrator, cartoonist, and podcaster, Wu’s talent as a storyteller lies in her complex use of humor. With great care for her subject and her reader, Wu deploys humor to tend to the uncouth, raw, and ugly parts of life. In so doing, the author invites us to laugh and ultimately reckon with our own discomfort as we with sit with the heaviness of racism, sexism, and post-migration melancholy—using humor as a salve.At her best, Wu serves irreverence, rawness, and wit. To be immersed in her books is to rub up against the rough-hewn emotions that bring her characters to life. The vibrancy of her palette and the whimsy of her pen strokes are inviting, animated, and deceptively light-hearted. In an instant, lines and pigment rearrange into abstractions dense with affect. Fiery hollowed eyes, a gaping mouth, and flushed skin burn through the frame—making the volcanic rage of a migrant mother immediately palpable. It’s so emotive, it practically singes your skin. Click for larger view View full resolutionFigure 1.Cover of Wu’s first graphic memoir Gazpacho agridulce: Una autobiografía china-andaluza[End Page 102] Click for larger view View full resolutionFigure 2.Excerpt from Gazpacho agridulce (courtesy of the artist)[End Page 103]While... (shrink)

Affectivity and Philosophy After Spinoza and Nietzsche investigates a much neglected philosophical connection between two of the most controversial figures in the history of philosophy, namely Benedict Spinoza and Friedrich Nietzsche. It is claimed that these thinkers break with the classical image of philosophy as looking beyond affectivity for a knowledge of the world that can allow us to attain surety of judgement, virtue and happiness, and instead insist that the task of philosophy is not to judge what is (...) right or wrong, but understand how it is that we come to make such judgements. As Spinoza famously remarks, we do not desire something because it is good; we rather call something good because we desire it. Philosophy for Spinoza and Nietzsche thus traces the affective genesis of our desires to help us compose our relations in the world in the most joyful manner possible. The crucial orientating role of affective experience thus joins these two disparate thinkers in a single and rare task: to make knowledge the most powerful affect. (shrink)

This article will explore different images of nature and their implications for the meaning of life in the face of death. First we will elaborate on life as creation, as expressed by Francis of Assisi in his Canticle of the Sun, and see how the imaginative power of this story gives meaning to life and death. Then we will go into the evolutionary approach of life by Richard Dawkins. In his work a totally different significance of finitude becomes visible: death (...) as a necessary segment in the development of life. The philosopher Leo Apostel states that an intellectual/scientific understanding of death is not enough; we need to explore our emotional response to the universe in order to be able to create meaning and value. The work of the biologist Ursula Goodenough and the philosopher Ton Lemaire are discussed as examples of such an affective admiration of life and death based on scientific knowledge. In the end I will conclude that scientific insights give us a lot of information about human beings as concerns their nature and the inevitability of death. But how we can affectively value and give meaning to life in the face of death is still an open question which cannot be answered by science alone. (shrink)

Schizophrenia is a severe mental illness, which affects sense of identity. While the ability to have a coherent vision of the self relies partly on its reciprocal relationships with autobiographical memories, little is known about how memories ground “self-images” in schizophrenia. Twenty-five patients with schizophrenia and 25 controls were asked to give six autobiographical memories related to four self-statements they considered essential for defining their identity. Results showed that patients’ self-images were more passive than those of controls. Autobiographical memories underlying (...) self-images were less thematically linked to these self-images in patients. We also found evidence of a weakened sense of self and a deficient organization of autobiographical memories grounding the self in schizophrenia. These abnormalities may account for the poor cohesiveness of the self in schizophrenia. (shrink)

At the focal point of contemporary biopolitical knowledge and power is human life in its contingent, evolutionary and emergent properties: the living as adaptive and affective beings, characterized in particular by their capacity to experience stress and fear that works together with vital survival mechanisms. This article addresses new techniques of psychiatric power and therapeutic epistemologies that have emerged in present-day military-scientific as well as media technological assemblages to define and capture the human in its psychobiological states of emergency. (...) Specifically, the focus of this article is on one special kind of screen medium, called Virtual Iraq, a virtual reality device designed to treat post-traumatic stress disorder among war veterans. The article analyses Virtual Iraq as an example of new forms and strategies for the management of affectivity and memory that have been developed in conjunction with contemporary neuroscientific discourses on the evolutionary origins of emotional life and its neurobiological functionality among humans qua species. Furthermore, it discusses Virtual Iraq as an example of the biopolitical work of contemporary screen media in which the reality of images starts to concern the organism’s internal functioning instead of being anthropological or communicative, tapping into the brain’s capacity of self-organization as well as contributing to the production and maintenance of psychological immunity. (shrink)