Read PDF The Rationality of Feeling

Free download. Book file PDF easily for everyone and every device. You can download and read online The Rationality of Feeling file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with The Rationality of Feeling book. Happy reading The Rationality of Feeling Bookeveryone. Download file Free Book PDF The Rationality of Feeling at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF The Rationality of Feeling Pocket Guide.

We lose that ingredient of in a ball of wool. To render emotions reasonable, to control the affective cocktail, become strangers to joy and anger: one something, we need to have full acquaintance with what is response to emotions not fitting in. They are a chorus often there. If we bypass our feelings, they will shape us in ways off-key to the song we think we are trying to sing. When they unknown. They may taint what we see and remember, or spill are out of tune, many treat them like unwelcome whispers, and leak from us, like guilt chattering out of our fingertips, or a blush betraying stray desires.

How good an affective cocktail emotions, unable both to have them and you mix depends on the range and intensity of your stock. Courtesy of the artist, Los Angeles. Hochschild acknowledges the increasing demand of reason. Cultural misunderstandings arise when bracketing it and containing it rather than expressing it. It is suffering is politely masked and the unknowing audience sees hard emotional labour, needing recognition. Some people stumble upon ways to control movements Facework — knowing but not showing that are organically part of the expressive and experiential Display rules can edit our feeling potential, though we manifold of an emotion.

For others emotion work requires may gain culturally acquired self-reflexive emotions like ongoing mental effort with bodily costs. Everyone pays to pride, shame and guilt. Display rules reveal flexibility of a degree the price of living palely: the costs of emotional emotional experience and expression.

Some people are suppression include poorer memory for emotional events and expert at knowing but not showing what they feel. Some a taxing of hormonal systems. It promotes alienation or lack work situations require precisely that skill I call here facework. Dissociation, letting experiential and expressive processes In facework, we uncouple what we feel about a situation, come apart, is not a cop out — it can be a courtesy or a skill.

Bypassing genuinely. The work entails bringing expressive movements feeling when no-one wants to hear has personal and political that are organically part of an emotion under control often consequences. Facework must be relatively automated, yet contextually sensitive and able to be Dismissing emotions Sue Campbell moves attention from the readily named changed when no longer needed. The smiling or idiosyncratic. The stuff of poetry, you might say. Yet she waitress controls her fatigue or anger at grumpy customers. Her smiling demeanour, though rationally required of her, is a In academic circles, emotions often get bad press, however result of actions and experiences which have become habits tacitly.

Feeling Rational

Emotions are likely to be controlled, ignored or excused to her. Her expressive displays have been explored and taken — defensively disenfranchised. Eyes were alive in finding we inner impact of emotion. It can be put to quite different shared emotional orientations and concerns. These feelings uses depending on the motivation of the person. Some melded us into an instant group, pointed to future issues.

We seemed ashamed reason. To conceal artfully and ruthlessly to reveal is central of having them - meta-emotions. Prosocial roles like hostage negotiation require such skill as do some forms of psychotherapy. Right: Windowsill from the Double Life series, Reflection reception. Hostile interpretative practices can be emotional can save us from repetitive immersion in feelings that solve manipulation. Reflective awareness it with a personality problem — theirs. No reasoned argument, of even the most bodily bits of emotion can save us from just a swift label.

It shifts the focus from the past actions of getting caught in a ruminative rut, where we have the same the dominant group onto the psychology of the person filled old same old emotions over and over again, like having stuck with feeling. There is power in refusing uptake, in insisting in our head an old tune we no longer wish to hear. It can undermine the struggle for group memory, their tainting our perceptions and memory in unbidden ways. Mindfulness practices stumbled upon this, centuries ago.

She says the bitter are the angry disadvantaged of society, Harnessing curiosity and compassion as meta-emotions so visible minorities who are not in a position to influence we can tolerate our own feelings long enough to know what is politicians, bring lawsuits, make threats or otherwise express going on within us can also get us out of ruminative mental anger irresistibly. The positive affects of curiosity, interest and surprise someone holding a bomb bitter.

This is part of what I am Having feelings and reflective awareness calling reflective awareness. Good without them inevitably tainting your views of present and actors are open to what is going on in their body, squeezing past in irrational ways. This ability to Staying in touch with what personally matters is a challenge experience emotion fully without sacrificing discretion or with so many cultural messages around.

While it may seem decorum by being impelled into expressive action keeps in like a good thing to live palely, to minimise emotion in the the picture the message emotions have for us. Consciously name of becoming more rational, research shows that this picking up on inner processes and finding words for them can is linked with a lack of intimacy, impoverished memory, change them.

Reflection can bring parts of have unexpected consequences for science, innovation and emotion together or dissociate them — depending on our life change. With nuanced expression and reception by others texture, our skills, what the world requires of us now, and how and ourselves , emotions can be sources of insights we sift for inspiration.

Charles Blackman said art was the courage we risk becoming passionless people, living palely by muting feelings we do not know what to do with Left: Futoshi Miyagi Strangers 7 , digital c-print, 16 x 20 inches. Opposite Bottom: Futoshi Miyagi Strangers 6 , digital c-print, 16 x 20 inches. They breathe life into subtle inner hunches, Enger for their generous readings. Culture can enhance our awareness of University and contributor to journals in psychology as well as the humanities.

Her certain emotions, as honour cultures privilege awareness of research interests are emotion and personality specifically profiling narcissism, Machiavellianism, psychopathy and charisma; colonizing the body via yoga; gender insult; can give us a vocabulary around them, as the Japanese and personality; spiritual orientation and personality.

It can also close us down in unseen ways. Bower, G. I see two broad challenges: I want to be open to intuitive Campbell, S. They may be able to Christie, R. That challenge Hochschild, A. Consciousness and the varieties of emotion possible, even if there is not yet cultural space for it. The experience: A theoretical framework Psychological Review , — Emotions are not the enemies of reason. Rather they are part of an intuition pump that gets our first Whitebook, J.

Handling emotions is a challenge, one that is sometimes so difficult and unseen, that we walk away from experiencing the range and intensity of feelings. We risk becoming passionless people, living palely by muting feelings we do not know what to do with. There are costs to this for our body, for how open we are to what is possible now and how vividly we recollect our past. There are those who speak the language of emotion so well that they pave the way for us, introducing us to freshly felt nuances. Some of these complex meta-emotions, with one emotion nested inside another, can be so subtle that poets, painters or musicians more readily capture them.

I lumber along happily after them. N Julie Traitsis Kissing Project stills , single channel video loop. Courtesy the artist and PICA. Related Papers. A Simulation Theory of Musical Expressivity. By Tom Cochrane. By Emil Hallgren Christiansen. By Andrew Ortony. The problem of affectivity in cognitive theories of emotion. During this project writing has become a connecting element, both as a description of my artistic process and as an integrated part of my work.

In this writing I have tried to be open to underlying motives and early in this project it became clear that memories of psychotic episodes that I experienced in my twenties would start to play a crucial part in the description of my process. The psychoses had a prodigious impact on the formation of the person I have become and still play an important role as an undercurrent of emotional energy in my daily life and in my art.

In this exposition I explore how, if I want to explore deeper layers in my work, I can no longer avoid this part of my past. Tip This page contains media that is intended to start playback automatically on opening. This may include sound. Your browser is blocking automated playback. Please click here to start media.

Iris Murdoch. For example, I have worked on a series that has its origin in an old-fashioned theory named Physiognomy, which was made popular by the Swiss philosopher and pastor Johann Kaspar Lavater in the 18th century. Lavater, In his 'Physiognomic Fragments' one can find the engravings of J. The combination of images and an explanatory text fascinates me, and since this series on Lavater, I have often used this particular fascination as a strategy to create new bodies of work.

Physiognomy as a theory was commonly accepted from its invention until to the 20th century, when it was questioned due to its connections to eugenics, theories on race and the Holocaust, shrouded in shame it finally becoming obsolete as a scientific theory. A series of sculptures that arose from the series on Physiognomy is a suite on racial biology or eugenics. I became interested in this subject since I think that there is a direct relation between thoughts on physiognomy and thoughts about race.

The subject of my work naturally evolved from physiognomy to race. Over the years I have developed a very specific approach to sculpture, where I use images i. After finding these images I model them as sculptures. For my series on racial biology for example, I went to the University Library of Uppsala, Carolina Rediviva and did research in the vast collection of photographs from the archives of the Swedish Institute of Racial Biology.

This state institute worked between and to gather information on the Swedish population by taking photographs and measurements of over one hundred thousand people. Hagerman, For my series on racial biology I selected over a hundred photographs from this archive to work with, trying to free these people from their category, by making their portraits in a personal and sensitive way picture 2. In everyday life it is a common practice to speak about different races; but with a foundation in genetic research, the scholar Joseph L. Graves, amongst others, argues that there is only one human race. The genetic variation between different ethnic groups is smaller than the variation within these groups Graves, , Psychologist Paul Ekman illustrates this beautifully, when he shows that there are a few basic facial expressions that are interpreted in the same way over the world, independent of culture and ethnicity Ekman, At the moment I am working on a series of sculptures which I am aim to use for this research project.

Klarsfeld, This book has pictures of almost 2, of the 20, Jewish children from Paris, who were deported by the Nazis to Auschwitz. The relevance for this work has increased dramatically since I have children of my own. I have recently returned to drawing again after a fifteen-year period of neglect. I was looking for a way to open up my process, since I had the feeling that I started to reiterate myself in my sculpture. My drawings hold a position of absolute contrast to my sculpture.

They are non-figurative, black and white, and flat. There is no direct formal relationship between my sculptures and drawings. Different to my sculpture, where I try to get as close as I can to the person I depict, I simply start with a piece of paper on which I scatter some charcoal powder. The outcome is highly coincidental and I work until I am intuitively pleased with the result.

In contrast to the fact that there is no formal relationship between my sculptures and drawings, I feel that there is a strong emotional relationship. A relationship that I will investigate, delineate and contemplate in this exposition.

  • Emotions as probability calculators.
  • W.D. Gann Method of Trading: A Simplified, Clear Approach?
  • My Fathers Mask.
  • They Made It!: How Chinese, French, German, Indian, Iranian, Israeli and other foreign born entrepreneurs contributed to high tech innovation in the Silicon Valley, the US and Overseas..
  • The interface between rationality and emotions;
  • Critical Thinking and Emotional Intelligence?
  • Site Information Navigation.

For this reason, I believe that it is here I will find the key to the deeper motives for my work with portraits of victims of repressive systems. Through this investigation I will enter a very personal realm, but during this project I realized that entering this realm, and disclosing it, is essential to getting further in my process. For this exposition and the exhibition at Konstfack it relates to, I will introduce three sculptures, combine them with newly made drawings and investigate how the sculptures and drawings work together.

I decided not to exhibit an equal number of pictures and drawings, since that would indicate that a specific drawing pertains to a specific sculpture, which is not the case. The sculptures and drawings should interact, but from their own position. In addition, as with arranging flowers in a vase, if there are only a few a more balanced exhibition is achieved with an odd number of works. Parallel with the process of drawing and modelling, I will structure my thinking in a journal and reflective texts, in which I will describe my process, investigate my motives for working with portraits of victims and contemplate the relations between the abstract and figurative parts of my work.

Major Problems Inherent in Goleman’s Work

An earlier version of this text was part of the exhibition at Konstfack and I made it available to the public in the form of a booklet. Since I want my visual art to be understood by its visual means, it is for me of the utmost importance that it can be understood by a general audience without ploughing through a lot of text. In that sense, even though this text is essential for me and this project, it is complimentary.

Working with this project, some very personal memories from psychotic episodes earlier in my life became inescapably pregnant in my mind. These memories showed up as small fragments, which I wrote down as they came. Since my main objective for this project is to deepen my understanding of my motives and my process, I decided to implement these fragments as parallel texts, acting as interludes to the main text below. For an example of a novel with parallel texts, see Louis Paul Boon, Menuet , The main text consists of journal entries, which I kept up as I was working in the studio.

In these I have tried to be open to underlying motives, which I expected to pop-up during the working process. These journal entries are written over thirteen working days, although I did not make an entry for every day I worked in the studio. There might be weeks in between the different days described. The actual date that an entry was made is irrelevant for this project and naming it would distract attention from the text, so I decided to number the days instead.

Each day has its own topic; these are linked and succeed one another in a non-linear way, building a comprehensive description of my process. To make a clear distinction between the text fragments and the main text, I present them in a contrasting typeface. The journal entries are followed by a reflective text in which I discuss the different elements of my work and arrange them into an integrated complex.

Picture 1, newspaper clipping, NRC Handelsblad, around Picture 2. From the series "On Racial Biology - Eugenics". Ceramics and pigments, , life size. Picture 3. Portrait of a Man. Ceramics and Pigments, Picture 4. From the series: "French Children of the Holocaust":. Interned in the Lalande camp near Tours and then transferred to Drancy, she was deported to Auschwitz on convoy 31 on September 11, , with her mother, Frieda and her sister Paulette, age 7.

Picture 5. Charcoal on paper, Picture 7. No title, Jump. Picture 8. War against War! Ceramics and pigments, Picture 6. No Title, Moon. My studio is a mess. Some months have passed since I was here. I need to feel undisturbed and focused.

I need to see my references. It can be chaos, but it has to be mine. I start with making three different workstations: one for painting the last sculptures I made in Denmark, a large table for drawing and a table for writing. As usual, I procrastinate before I even think of starting: settling my mind, wandering around, putting in order, choosing what to do. Taking in books and stuff I want to work with. Trying to get focused. Once I have started I am fine. The last book is the major reference in the series of sculptures I am working on at this moment. I might or might not use the other books mentioned, but I want them at hand.

I tend to pick them up, walk through and put them aside again, as a source of artistic reference. I look at the pictures. Part of my way of procrastinating is writing. I write about how to get going, about my mood, about whether or not I want to be in my studio and whether or not I feel blocked. I write about why I write all this. But with this project my attitude towards this writing has shifted paradigm and it has become work as well. Even though writing has always been a part of my process, as a way to gain focus, it has also been a way of postponing my work.

Now this writing has become permissive, it feels like a liberation or a relief. I feel triggered to write, but since this text will be a part of a presentation, I have to bring it to another level: it has to be readable for others as well. Who will I address in these writings? This is a journal, but unlike the diaries I am used to keeping, this one will not be private. It has to be more formal, yet personal at the same time. It has to be readable for people with a general interest in art, who happen to be interested in my work or in this research project.

This will mean: not too much repetition and self-indulgence. For me, writing is a time-consuming occupation. That is to say, I write very slowly. I use introspection as a method, I try to capture my inner voice. Due to this, I enter a contemplative state of mind where I can be aware of thoughts that otherwise are too ephemeral to notice. My vocabulary in Dutch might be much larger; writing in English forces me into a more reflective attitude, where I weigh each and every word.

We saw this exhibition several times and we were very impressed and excited as twelve-year-olds. Kudo is probably one of the artists who has most influenced me to become one myself. Even after 40 years I still have a vivid memory of this show. I walk in a park. Ephemeral existences disperse from trees. I am not afraid. A big, black curved form, a dot, on a white sheet of paper picture 5. It was about balance and weight and the apparent ease some people, especially dominant white males, have about themselves. At one point the form hits the side of the paper, on the other side it runs off the paper.

As I was working on the drawings, I realized that it was not a drawing I was after. In my mind it became a huge, free-standing, abstract, flat, black sculpture. I have not come so far as actually making it, but I will. Later I developed the drawings in the opposite direction: a white curved form, left behind after making the rest of the paper as black as it can be. The curved form became the moon in the night sky.

Since the drawings were meant to be presented together with a sculpture series on the Danish resistance movement, in particular portraits of assassins, the moon became a symbol for activities which under normal circumstances cannot take place in broad daylight. That is where I start now: a negative form picture 6. Black space around a white, single-curved form. If I leave the paper white as it is, it remains two-dimensional.

I need to do something in the white sphere. First I adjust the curve, since I am not pleased with it. It should not be perfectly round, but almost. Now it is sort of hanging. As it is still not as close to a circle as I want, I use a pair of custom-made compasses and adjust the curved line. I will adjust once more. The black space holds clouds, enclosed.


The clouds meet the dense surface, precipitate, sublimate. Inside and outside are the same but of a different quality, a different density, a different state of being, another state of mind. The moon has been transfigured. I am a self-murderer. We are rehearsing the Hell of Dante in an underground parking lot. I am doomed to burn in hell forever and ever. Even though it is only one aspect of my work, my psychoses, and how I will relate to them in this project, have dominated this last week.

I need to find a convincing way to integrate the small text fragments in the memories of my psychoses that have popped up recently, as parallel elements in my texts. This is in order to say something about the emotional layers of my work. And I need to articulate why I want to include these text fragments in the first place. I have read about Anna Odell and the way she manifested herself through her BA degree project at Konstfack University College of Arts, Crafts and Design Stockholm Odell, and I am reading and pondering bits and pieces of other artists whom I could refer to.

Rowell, I want to use him in my text as an example of an artist dealing with being mentally ill, put him in an opposing position to that of Anna Odell and relate these two artists to myself and to how I approach my work. I am in a corridor. I need to visit the bathroom. It is dark. A note on the inside of the door says that the light will switch on if you close the door and lock it.

New drawing. Although that might be too big right now. Smaller is faster and I want to work with a new form. It is sort of the same curved form as the moon, but with a horizontal platform. A plateau. One could jump from picture 7. Back then, I hardly ever continued working with a form to develop it further. I worked a little bit with it and went on to the next, knowing that there would come a time when I would continue.

This time has come now. I have small sketches in a book and I want to work with them. The abstract forms I use are quite simple. They always have been simple, in their apparent form, not so much in their context or content. In my drawing I never developed the technical skills as I have with my sculpture. She had a hand for drawing, so I could just as well forget even thinking about it.

I became convinced that it was not for me and I never even bothered to try. Later I did, but it always has been, and still is, loaded with fears of my inabilities. So I get easily locked and blocked, and it is precisely that which this is about, the Pondus-motif and content are directly linked. I drive a needle through his eye. The picture is a newspaper clipping that hangs on my wall. He is a war criminal, responsible for the deaths of tens of thousands. In my delusion it is me. I am he. I commit voodoo on myself.

I am struggling to find a way to embed the memory fragments of my psychoses in this project. Since they are very private, I hesitate to integrate them in this text. Yet, if I want to go beyond my fear, I need to use these fragments in view of the fact that they represent important emotional layers in my work. These emotional layers are present in both my drawings and my sculptures as a part of the expression and content. Though in my sculpture they are not directly visual, since I try to conceal them.

In my recent drawings the emotional layers come more to the surface.


My psychoses are not a subject in my work, as they are in that of Anna Odell. Odell faked and relived a psychosis as a part of an art project in Odell, She pretended that she would commit suicide and protested intensely to the people who wanted to help her, until she was drugged and forcibly removed from the scene.

She had a psychosis 13 years earlier in her life, and did this project to question the way psychiatric hospitals take care of people with an acute psychosis.

With her project Anna Odell generated massive media attention and public debate. Yet this debate was not about psychiatric healthcare as she had hoped, but about the legitimacy of her actions and whether her project was or was not art. I name Anna Odell because she is an artist who explicitly used her psychosis, as a theme in her work, to question what she thinks is a systemic failure in psychiatric healthcare. A political stance that I do not want to take. I use my experiences with psychoses to charge my work emotionally, to make it more powerful, but the psychoses themselves are not a subject in my work.

They are a part the experiences that formed me into the person I am now. I do not feel the need to communicate these experiences in a political format as Anna Odell does in her project. Yet, I want to write about these experiences in order to get a deeper understanding of my motives to work with portraits of victims.

From my abstract work one could construe my mental state during the psychoses, which would be a valid interpretation of these works, but only if this interpretation is explicit. Since these drawings are conveyed in a fully abstract realm, they are open to any interpretation. My intention is to make art. Unlike psychiatric patients who have an incurable urge to draw or who need to get hold of themselves through creative therapy. Yet, the list of artists with psychiatric problems who managed their illness through their work is long. Consider Antonin Artaud. Demonerna kaller mig.

Demons are calling for me. There are shadows of birds everywhere. Over me, under me, beside me, behind me. With this book, and his anti-war museum, the pacifist Friedrich took a stand against war. He collected over one hundred and eighty photographs from German military and medical archives and published them to enlighten the public to the horrors of war. The book contains a collection of pictures of destroyed cities and vehicles, endless numbers of dead bodies scattered about the battlefields, cumulating in a series of close-up pictures of soldiers whose faces are partly blown away by grenades, but who miraculously survived.

Friedrich hoped that his book would give a face to the war and as such function as a deterrent, preventing wars in the future. In he was chased away by the Nazis from his hometown Berlin, forced to leave his museum which the Nazis seized as their hangout Friedrich, ; Sontag, I have used some of the pictures from this book to make a series of sculptures, since they fascinated and horrified me. The sculptures themselves are freer in style than my series on Racial Biology and French Children of the Holocaust. In the latter two, I wished to depict specific individuals, whereas the former deals with anonymous war victims.

I wanted to use a freer style to open up my way of working. But why do I want to create these sculptures in the first place? What is my interest in them? Is it to shock and provoke the audience? Do I think that the contribution I make with my art will help to put an end to war? Just as Friedrich thought? Actually not. I am not so naive that I believe private discussion initiated by my work here in Sweden would help to put an end to the war in Afghanistan.

Yet war seen from the perspective of war victims is one of the recurring themes in my work. Mutilated faces represent mutilated souls. With this work I relive some of the aspects of my past, transfigure those aspects into sculpture with a thought-content tangible to others. With this work I tell my story through the stories of others; I tell their stories through my experiences, through my eyes.

Nevertheless, my private stories remain untold. My personal incentive is to feel purified, slightly redeemed, having created these works, while at the same time I feel that I can focus on a topic that is larger than me. This is to salvage the Calvinist in me. Thinking of Louise Bourgeois in the way she brought her experiences into her work, saying something both very personal and of common value at the same time. I smash my head through the glass. It is like an eggshell.

The unity of caring and the rationality of emotion

I need to be reborn. I open the window and put myself on the ledge. I am naked. I loose myself, but there is an angel to catch me. Sometimes there are frustratingly long periods between the days I can work in my studio.

Like now: I have worked and I have travelled and I have even been in my studio, but I was unable to do any artistic work. So, here I am, trying to get focused again, but there are many things and thoughts pulling me in all directions. Not the least the reading and writing for this project. I permit myself a small amount of idling in able to get back on track. Yesterday I was in the studio for a short while and started a new drawing. It is big, x cm. Unlike the drawings I discussed earlier, I have not started with a clear form, but I sprinkled some charcoal powder on the paper to start with.

There is a connection to previous abstract work I made: two blocks fields hovering over a third. Just black ink, nothing else. The lines and sides are drawn by hand, which upon closer observation, give the blocks a more organic character picture 9.