What happens when tourists scream with fear, shout with anger and frustration, weep with joy and delight, or even faint in the face of revealed beauty? How can certain sites affect some tourists so deeply that they require hospitalisation and psychiatric treatment? What are the inner contours of tourist experience and how does it relate to specific emotional cultures? What are the consequences of the emotional cultures of tourists upon destinations? How are differences in emotional culture mobilized and played out in the transnational contact zones of international tourism? While many books have engaged with the structural frames of tourist practice and experience, this is the first to deal with the emotional dimensions of tourism, travel and contact and the ways in which they can transform tourists, destinations and travel cultures through emotional engagements. The book brings together an international array of scholars from anthropology, psychiatry, history, cultural geography and critical tourism studies to explore how the movement to, and through, the realms of exotic people, wild natures, subliminal art, spirit worlds, metropolitan cities and sexualised 'others' variably provoke emotions, peak experiences, travel syndromes and inner dialogues. The authors show how tourism challenges us to engage with concepts of self, other, time, nature, sex, the body and death. Through a set of ethnographic and historic cases, they demonstrate that such engagements usually have little to do with the actual destination but rather, are deeply anchored in personal memories, repressed fears and desires, and the collective imaginaries of our societies.
emotion in motion
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What is the relationship between habits and emotions? What is the role of the embodiment of emotions in a cultural habitat? What is the role of the environment for the formation of emotions and subjectivity? One way to address these questions is through discussing an "emotional habitus" - a set of habits and behavioral attitudes involving the body that are fundamental to emotional communication. But this set of habits is not independent of context; it takes place within a specific "emotional habitat "in which other bodies play a crucial role. Together, these constitute the foundation of sociocultural communities, psychologies of emotions and cultural practices - and they have much to contribute to the study of emotions both for cognition and aesthetics. Thus, the challenge of addressing these questions cannot be faced by either the sciences or the humanities alone. At the Berlin-based conference: "Emotion and Motion, "scholars gathered from various disciplines to broaden perspectives on the interdisciplinary field of embodied habits and embodied emotions. This book offers a new view on the related field of habitus and the embodied mind.
The different aspects and variation to how the mind can go beyond to surpass and---RISE ABOVE---Spiritually and to excellence must include true to self and each-other. Understanding the powers of both light energy—POSITIVITY--and differences dark energy—NEGATIVITY--creates. An obligation as each step and processes require daily practice/DEVOTION: Love/Peace---Courage---Wisdom---Prayers---Compassion---JOY---Civility---Awareness---Grace---Patience---Meditation---Intuition---Understanding---Charity---Virtues---Peace/Love to TRANSCENDENCE. It is up to US to choose and implement right from wrong and wrong from right in our daily lives.
This book collects the proceedings of the International Workshop on Intelligent Computing in Pattern Analysis/Synthesis, IWICPAS 2006, held in Xi'an, China alongside the 18th International Conference on Pattern Recognition, ICPR 2006. The book presents 51 revised full papers and 128 revised poster papers, organized in topical sections on object detection, tracking and recognition, pattern representation and modeling, visual pattern modeling, image processing, compression and coding and texture analysis/synthesis.
Emotion in Aesthetics is the first book on aesthetics to provide an extensive theory of emotion; application of the cognitive-emotive theory to aesthetics; analysis of the relationship between aesthetics, metaphor and emotion; a full theory of meaning and its application to aesthetics; discussion of the relationship between aesthetics, music and language in terms of phonetics, phonology and intonation; an analysis of humanistic aesthetics; a well-developed naturalistic theory of ethics as applied to aesthetics and emotion. Stress is placed on the views of contemporary philosophers as well as some of the main historical accounts of emotion in aesthetics. The important recent work on emotion has not hitherto been applied to aesthetics. As a result there is still much confusion in aesthetics about aesthetic emotion and related concepts, such as the expression theory of emotion. The present book has been written to show how the theory can be used to clarify the issue, resulting in a major breakthrough in aesthetics. In addition, the theory presented is valuable in relating aesthetics to ethics and humanism.
This book examines the theatrical movement-based pedagogy of Jacques Lecoq (1921-1999) through the lens of the cognitive scientific paradigm of enaction. The conversation between these two both uncovers more of the possible cognitive processes at work in Lecoq pedagogy and proposes how Lecoq’s own practical and philosophical approach could have something to offer the development of the enactive paradigm. Understanding Lecoq pedagogy through enaction can shed new light on the ways that movement, key to Lecoq’s own articulation of his pedagogy, might cognitively constitute the development of Lecoq’s ultimate creative figure – the actor-creator. Through an enactive lens, the actor-creator can be understood as not only a creative figure, but also the manifestation of a fundamentally new mode of cognitive selfhood. This book engages with Lecoq pedagogy’s significant practices and principles including the relationship between the instructor and student, identifications, mime, play, mask work, language, improvisation, and movement analysis.
This is a collection of poems that I wrote during my mid-teenage years to my early twenties. The collection is divided into three books, each with its own different writing style. In the first book, I was still establishing myself as a poet and had no poetry identity. I was still trying to discover myself. In the second book, I had developed a sense of style and by then I was able to identify myself as a poet. The same can be said about the third book. Another difference that is worth mentioning between the three books is the level of maturity. It varies (and gradually increases) from the first book to the third. One thing that ties all the three books together is the content. My poetry has been inspired by emotion. Hence the name of the collection is Emotions in Motion'¦
Named a 2003 Book of the Year by The Guardian [London], winner of the 2004 Kraszna-Krausz Moving Image Book Award in Culture and History (honoring "the world's best book on the moving images") and honored as an "Outstanding Academic Title" in Choice, the publication of the American Library Association. With forays into the fields of geography, art, architecture, design, cartography, and film, Giuliana Bruno's Atlas of Emotion is a highly original endeavour to map a cultural history of the visual arts. She insists throughout on the inseparability of seeing and travelling. In so doing, she touches on the art of Gerhard Richter and Annette Messager; the filmmaking of Peter Greenaway and Michelangelo Antonioni; the architecture of cinema and its precursors. Visually luscious and daring in conception, the voyage opens new vistas and understandings at every turn.
This book concerns a single topic, coherence in the several arts, which is vague to begin with, but becomes progressively more precise as we proceed. While the book is not a formalist theory of art it aims to take steps toward clearing up the concept of form, which is of central interest in art, either by its observance or by deliberate defiance. While our interest is thus in one concept, it is as a matter of fact complex and covers some seven subordinate topics. Each of these important subjects is covered in separate chapters: the number of principal parts of artworks, their extent, size or magnitude, the intervallic relation between them, and their dimensional, contextual, tendentive, and connotational relations, all of which will be explained as we proceed. There are ample analyses or critiques devoted to particular artworks which appear in Part Two. While the book keeps to a fairly narrow range of subjects, breadth is there too, and the implication for all the arts is manifest. The examples cover mainly music, but there is a broad selection of architecture, sculpture, painting, both abstract and figural, and a brief selection from the field of narrative poetic art. Many more types of the arts had to be excluded to make the book of manageable size.