From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #4460 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Sunday, June 28 2020 Volume 14 : Number 4460 Today's Subjects: ----------------- You Donāt Have to be Alone ["Adult Dating" ] Triple Impact EDC Tool? ["Survival Situation" Subject: You Donāt Have to be Alone You Donbt Have to be Alone http://theremed.guru/ExkC6358j2K3-zo7aN8ochgWg4yVgm0PxemKg0Yun6qmoWu8 http://theremed.guru/tKQW0eoycxO52FXc3P3UbIm2z6f_5U7S_R3G1hFgh6F-xI-u vest in their social life" are "so much a part of all classificatory disputes about art." According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the Daily Mail criticized Hirst's and Emin's work by arguing "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all" they are not advancing a definition or theory about art, but questioning the value of Hirst's and Emin's work. In 1998, Arthur Danto, suggested a thought experiment showing that "the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object's arthood." Anti-art is a label for art that intentionally challenges the established parameters and values of art; it is term associated with Dadaism and attributed to Marcel Duchamp just before World War I, when he was making art from found objects. One of these, Fountain (1917), an ordinary urinal, has achieved considerable prominence and influence on art. Anti-art is a feature of work by Situationist International, the lo-fi Mail art movement, and the Young British Artists, though it is a form still rejected by the Stuckists, who describe themselves as anti-anti-art. Architecture is often included as one of the visual arts; however, like the decorative arts, or advertising, it involves the creation of objects where the practical considerations of use are essential in a way that they usually are not in a painting, for example. Value judgment Aboriginal hollow log tombs. National Gallery, Canberra, Australia Somewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as "that meal was a work of art" (the cook is an artist), or "the art of deception", (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity. Making judgments of value requires a basis for criticism. At the simplest level, a way to determine whether the impact of the object on the senses meets the criteria to be considered art is whether it is perceived to be attractive or repulsive. Though perception is always colored by experience, and is necessarily subjective, it is commonly understood that what is not somehow aesthetically satisfying cannot be art. However, "good" art is not always or even regularly aesthetically appealing to a majority of viewers. In other words, an artist's prime motivation need not be the pursuit of the aesthetic. Also, art often depicts terrible images made for social, moral, or thought-provoking reasons. For example, Francisco Goya's painting depicting the Spanish shootings of 3 May 1808 is a graphic depiction of a firing squad executing several pleading civilians. Yet at the same time, the horrific imagery demonstrates Goya's keen artistic ability in composition and execution and produces fitting social and political outrage. Thus, the debate continues as to what mode of aesthetic satisfaction, if any, is required to define 'art'. The assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of what is aesthetically appealing. Indeed, the reverse is often true, that the revision of what is popularly conceived of as being aesthetically appealing allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium to strike some universal chord by the rarity of the skill of the artist or in its accurate reflection in what is termed the zeitgeist. Art is often intended to appeal to and connect with human emotion. It can arouse aesthetic or moral feelings, and can be understood as a way of communicating these feelings. Artists express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art may be considered an exploration of the human condition; that is, what it is to be human. By extension, it has been argued by Emily L. Spratt that the development of artificial intelligence, especially in regard to its uses with images, necessitates a re-evaluation of aesthetic theory in art history today and a reconsideration of the limits of human creativ ------------------------------ Date: Sun, 28 Jun 2020 04:30:47 -0400 From: "Survival Situation" Subject: Triple Impact EDC Tool? Triple Impact EDC Tool? http://theremed.guru/CQRPBy3aNBkwKvYVrqjpjYL1vvYj6qB-8J_MhuWWQp2t01vx http://theremed.guru/j7mdQ7WP_lFzFNrUyOytuHQ3JF9_hZWSNCzc4iphScYXc9xl Research on emotion has increased significantly over the past two decades with many fields contributing including psychology, neuroscience, affective neuroscience, endocrinology, medicine, history, sociology of emotions, and computer science. The numerous theories that attempt to explain the origin, neurobiology, experience, and function of emotions have only fostered more intense research on this topic. Current areas of research in the concept of emotion include the development of materials that stimulate and elicit emotion. In addition, PET scans and fMRI scans help study the affective picture processes in the brain. From a purely mechanistic perspective, "Emotions can be defined as a positive or negative experience that is associated with a particular pattern of physiological activity." Emotions produce different physiological, behavioral and cognitive changes. The original role of emotions was to motivate adaptive behaviors that in the past would have contributed to the passing on of genes through survival, reproduction, and kin selection. In some theories, cognition is an important aspect of emotion. For those who act primarily on emotions, they may assume that they are not thinking, but mental processes involving cognition are still essential, particularly in the interpretation of events. For example, the realization of our believing that we are in a dangerous situation and the subsequent arousal of our body's nervous system (rapid heartbeat and breathing, sweating, muscle tension) is integral to the experience of our feeling afraid. Other theories, however, claim that emotion is separate from and can precede cognition. Consciously experiencing an emotion is exhibiting a mental representation of that emotion from a past or hypothetical experience, which is linked back to a content state of pleasure or displeasure. The content states are established by verbal explanations of experiences, describing an internal state. Emotions are complex. According to some theories, they are states of feeling that result in physical and psychological changes that influence our behavior. The physiology of emotion is closely linked to arousal of the nervous system with various states and strengths of arousal relating, apparently, to particular emotions. Emotion is also linked to behavioral tendency. Extroverted people are more likely to be social and express their emotions, while introverted people are more likely to be more socially withdrawn and conceal their emotions. Emotion is often the driving force behind motivation, positive or negative. According to other theories, emotions are not causal forces but simply syndromes of components, which might include motivation, feeling, behavior, and physiological changes, but no one of these components is the emotion. Nor is the emotion an entity that causes these components. Emotions involve different components, such as subjective experience, cognitive processes, expressive behavior, psychophysiological changes, and instrumental behavior. At one time, academics attempted to identify the emotion with one of the components: William James with a subjective experience, behaviorists with instrumental behavior, psychophysiologists with physiological changes, and so on. More recently, emotion is said to consist of all the components. The different components of emotion are categorized somewhat differently depending on the academic discipline. In psychology and philosophy, emotion typically includes a subjective, conscious experience characterized primarily by psychophysiological expressions, biological reactions, and mental states. A similar multicomponential description of emotion is found in sociology. For example, Peggy Thoits described emotions as involving physiological components, cultural or emotional labels (anger, surprise, etc.), expressive body actions, and the appraisal of situations and contexts. ------------------------------ End of alt.music.moxy-fruvous digest V14 #4460 **********************************************