Journal articles on the topic 'Eliasian theory'

AbstractAndrew Linklater’s projected trilogy of books for Cambridge University Press rests distinctively on the work of the sociologist Norbert Elias (1897–1990). Linklater is creating a powerful theoretical orientation for the field of International Relations by synthesising the ideas of Martin Wight and the ‘English School’ of IR with those of Elias. Though Elias is best known for his theory of civilising processes – on which Linklater draws most prominently – his writings are far more extensive. In particular, his sociological theory of knowledge and the sciences underlies Linklater’s recent writings, even if that is not immediately apparent on a cursory reading. This article spells out some of the ‘Eliasian infrastructure’ that may not be familiar to many of Linklater’s readers. It also discusses ways in which common misunderstandings of Elias’s ideas may lead to parallel misunderstandings of Linklater’s. The article concludes by asking whether, even if Linklater’s vision of the growth of ‘cosmopolitan responsibility’ may prove correct in the long term, we may nevertheless be experiencing something of a (possibly short-term) reversal towards ‘cosmopolitan irresponsibility’.

Abstract The authors question the widely held view that radial contraction of a secondary eyewall during an eyewall replacement cycle is well understood and governed largely by the classical theory of axisymmetric balance dynamics. The investigation is based on a comparison of the secondary circulation and derived tangential wind tendency between a full-physics simulation and the Sawyer–Eliassen balance model. The comparison is made at a time when the full-physics model exhibits radial contraction of the secondary eyewall during a canonical eyewall replacement cycle. It is shown that the Sawyer–Eliassen model is unable to capture the phenomenology of secondary eyewall radial contraction because it predicts a net spindown of the boundary layer tangential winds and does not represent the boundary layer spinup mechanism that has been articulated in recent work.

This text contains initial reflections on the subject of the academic biography of Norbert Elias from the perspective of the theory of ritual interactions. The author outlines the spatial-temporal conditions that produced the emotional energy in Elias’s works and to a large degree determined his great popularity in the second half of the 20th century and now.

This text is an interpretation of Norbert Elias’s biography, his autobiographical writings, and certain aspects of his work in light of Patrick Baert’s positioning theory. Beginning from a critical analysis of the story of Elias’s life, career, and scholarship, through a reconstruction of the typical properties of his writing style and academic abilities, the author uses Elias to describe an intellectual strategy which she calls ‘balancing on the margins’. She considers it a legitimate strategy for maintaining oneself in the academic field—under certain conditions more productive and less risky than a strategy aimed at occupying a central position in the academic field.

This paper consists in a unified exposition of methods and techniques of the renormalization group approach to quantum field theory applied to classical mechanics, and in a review of results: (1) a proof of the KAM theorem, by studying the perturbative expansion (Lindstedt series) for the formal solution of the equations of motion; (2) a proof of a conjecture by Gallavotti about the renormalizability of isochronous hamiltonians, i.e. the possibility to add a term depending only on the actions in a hamiltonian function not verifying the anisochrony condition so that the resulting hamiltonian is integrable. Such results were obtained first by Eliasson; however the difficulties arising in the study of the perturbative series are very similar to the problems which one has to deal with in quantum field theory, so that the use of the methods which have been envisaged and developed in the last twenty years precisely in order to solve them allows us to obtain unified proofs, both conceptually and technically. In the final part of the review, the original work of Eliasson is analyzed and exposed in detail; its connection with other proofs of the KAM theorem based on his method is elucidated.

Abstract The purpose of this study is to analyze the role of diabatic heating in tropical cyclone ring structure evolution. A full-physics three-dimensional modeling framework is used to compare the results with two-dimensional modeling approaches and to point to limitations of the barotropic instability theory in predicting the storm vorticity structure configuration. A potential vorticity budget analysis reveals that diabatic heating is a leading-order term and that it is largely offset by potential vorticity advection. Sawyer–Eliassen integrations are used to diagnose the secondary circulation (and corresponding vorticity tendency) forced by prescribed heating. These integrations suggest that diabatic heating forces a secondary circulation (and associated vorticity tendency) that helps maintain the original ring structure in a feedback process. Sensitivity experiments of the Sawyer–Eliassen model reveal that the magnitude of the vorticity tendency is proportional to that of the prescribed heating, indicating that diabatic heating plays a critical role in adjusting and maintaining the eyewall ring.

Abstract Some of the advances of the past century in our understanding of the general circulation of the atmosphere are described, starting with a brief summary of some of the key developments from the first half of the twentieth century, but with a primary focus on the period beginning with the midcentury breakthrough in baroclinic instability and quasigeostrophic dynamics. In addition to baroclinic instability, topics touched upon include the following: stationary wave theory, the role played by the two-layer model, scaling arguments for the eddy heat flux, the subtlety of large-scale eddy momentum fluxes, the Eliassen–Palm flux and the transformed Eulerian mean formulation, the structure of storm tracks, and the controls on the Hadley cell.

The axial angular momentum (AAM) budget of zonal atmospheric annuli extending from the surface to a given height and over meridional belts is discussed within the framework of conventional and transformed Eulerian mean (TEM) theory. Conventionally, it is only fluxes of AAM through the boundaries and/or torques at the surface that are able to change the AAM of an annulus. TEM theory introduces new torques in the budget related to the vertically integrated Eliassen–Palm flux divergence and also new AAM fluxes of the residual difference circulation. Some of these torques are displayed for various annuli. In particular, the application of TEM theory generates a large positive torque at tropospheric upper boundaries in the global case. This torque is much larger than the global mountain and friction torques but is cancelled exactly by the new vertical AAM fluxes through the upper boundary. It is concluded that the TEM approach complicates the analysis of AAM budgets but does not provide additional insight. Isentropic pressure torques are believed to be similar to the TEM torques at the upper boundary of an annulus. The isentropic pressure torques are evaluated from data and found to differ in several respects from the TEM torques.

Abstract The gravity waves (GWs) produced by three-dimensional potential vorticity (PV) anomalies are examined under the assumption of constant vertical shear, constant stratification, and unbounded domain. As in the two-dimensional case analyzed in an earlier paper, the disturbance near the PV anomaly is well modeled by quasigeostrophic theory. At larger distances the nature of the disturbance changes across the two inertial layers that are located above and below the anomaly, and it takes the form of a vertically propagating GW beyond these. For a horizontally monochromatic PV anomaly of infinitesimal depth, the disturbance is described analytically using both an exact solution and a WKB approximation; the latter includes an exponentially small term that captures the change of the solution near the PV anomaly induced by the radiation boundary condition in the far field. The analytical results reveal a strong sensitivity of the emission to the Richardson number and to the orientation of the horizontal wavenumber: the absorptive properties of the inertial layers are such that the emission is maximized in the Northern Hemisphere for wavenumbers at negative angles to the shear. For localized PV anomalies, numerical computations give the temporal evolution of the GW field. Analytical and numerical results are also used to establish an explicit form for the Eliassen–Palm flux that could be used to parameterize GW sources in GCMs. The properties of the Eliassen–Palm flux vector imply that in a westerly shear, the GWs exert a drag in a southwest direction in the upper inertial layer, and in a northwest direction at the altitudes where the GWs dissipate aloft.

Diagnoses of circulations in the vertical plane provide valuable insights into aspects of the dynamics of the climate system. Dynamical theories based on geostrophic balance have proved useful in deriving diagnostic equations for these circulations. For example, semi-geostrophic theory gives rise to the Sawyer–Eliassen equation (SEE) that predicts, among other things, circulations around mid-latitude fronts. A limitation of the SEE is the absence of a realistic boundary layer. However, the coupling provided by the boundary layer between the atmosphere and the surface is fundamental to the climate system. Here, we use a theory based on Ekman momentum balance to derive an SEE that includes a boundary layer (SEEBL). We consider a case study of a baroclinic low-level jet. The SEEBL solution shows significant benefits over Ekman pumping, including accommodating a boundary-layer depth that varies in space and structure, which accounts for buoyancy and momentum advection. The diagnosed low-level jet is stronger than that determined by Ekman balance. This is due to the inclusion of momentum advection. Momentum advection provides an additional mechanism for enhancement of the low-level jet that is distinct from inertial oscillations.

Wave-activity conservation laws are key to understanding wave propagation in inhomogeneous environments. Their most general formulation follows from the Hamiltonian structure of geophysical fluid dynamics. For large-scale atmospheric dynamics, the Eliassen–Palm wave activity is a well-known example and is central to theoretical analysis. On the mesoscale, while such conservation laws have been worked out in two dimensions, their application to a horizontally homogeneous background flow in three dimensions fails because of a degeneracy created by the absence of a background potential vorticity gradient. Earlier three-dimensional results based on linear WKB theory considered only Doppler-shifted gravity waves, not waves in a stratified shear flow. Consideration of a background flow depending only on altitude is motivated by the parameterization of subgrid-scales in climate models where there is an imposed separation of horizontal length and time scales, but vertical coupling within each column. Here we show how this degeneracy can be overcome and wave-activity conservation laws derived for three-dimensional disturbances to a horizontally homogeneous background flow. Explicit expressions for pseudoenergy and pseudomomentum in the anelastic and Boussinesq models are derived, and it is shown how the previously derived relations for the two-dimensional problem can be treated as a limiting case of the three-dimensional problem. The results also generalize earlier three-dimensional results in that there is no slowly varying WKB-type requirement on the background flow, and the results are extendable to finite amplitude. The relationship $A^{\cal E}\,{=}\,cA^{\cal P}$ between pseudoenergy $A^{\cal E}$ and pseudomomentum $A^{\cal P}$, where c is the horizontal phase speed in the direction of symmetry associated with $A^{\cal P}$, has important applications to gravity-wave parameterization and provides a generalized statement of the first Eliassen–Palm theorem.

Abstract The dynamics of the eastern boundary current of a high-resolution, idealized model of oceanic circulation are analyzed and interpreted in terms of residual mean theory. In this framework, it is clear that the eastern boundary current is adiabatic and inviscid. Nevertheless, the time-averaged potential vorticity is not conserved along averaged streamlines because of the divergence of Eliassen–Palm fluxes, associated with buoyancy and momentum eddy fluxes. In particular, eddy fluxes of buoyancy completely cancel the mean downwelling or upwelling, so that there is no net diapycnal residual transport. The eddy momentum flux acts like a drag on the mean velocity, opposing the acceleration from the eddy buoyancy flux: in the potential vorticity budget this results in a balance between the divergences of eddy relative vorticity and buoyancy fluxes, which leads to a baroclinic eastern boundary current whose horizontal scale is the Rossby deformation radius and whose vertical extent depends on the eddy buoyancy transport, the Coriolis parameter, and the mean surface buoyancy distribution.

Abstract Regional extratropical tropospheric variability in the North Pacific and eastern Europe is well correlated with variability in the Northern Hemisphere wintertime stratospheric polar vortex in both the ECMWF reanalysis record and in the Whole Atmosphere Community Climate Model. To explain this correlation, the link between stratospheric vertical Eliassen–Palm flux variability and tropospheric variability is analyzed. Simple reasoning shows that variability in the North Pacific and eastern Europe can deepen or flatten the wintertime tropospheric stationary waves, and in particular its wavenumber-1 and -2 components, thus providing a physical explanation for the correlation between these regions and vortex weakening. These two pathways begin to weaken the upper stratospheric vortex nearly immediately, with a peak influence apparent after a lag of some 20 days. The influence then appears to propagate downward in time, as expected from wave–mean flow interaction theory. These patterns are influenced by ENSO and October Eurasian snow cover. Perturbations in the vortex induced by the two regions add linearly. These two patterns and the quasi-biennial oscillation (QBO) are linearly related to 40% of polar vortex variability during winter in the reanalysis record.

Classical theory concerning the Eliassen–Palm relation is extended in this study to allow for a unified treatment of midlatitude inertia–gravity waves (MIGWs), midlatitude Rossby waves (MRWs), and equatorial waves (EQWs). A conservation equation for what the authors call the impulse-bolus (IB) pseudomomentum is useful, because it is applicable to ageostrophic waves, and the associated three-dimensional flux is parallel to the direction of the group velocity of MRWs. The equation has previously been derived in an isentropic coordinate system or a shallow-water model. The authors make an explicit comparison of prognostic equations for the IB pseudomomentum vector and the classical energy-based (CE) pseudomomentum vector, assuming inviscid linear waves in a sufficiently weak mean flow, to provide a basis for the former quantity to be used in an Eulerian time-mean (EM) framework. The authors investigate what makes the three-dimensional fluxes in the IB and CE pseudomomentum equations look in different directions. It is found that the two fluxes are linked by a gauge transformation, previously unmentioned, associated with a divergence-form wave-induced pressure [Formula: see text]. The quantity [Formula: see text] vanishes for MIGWs and becomes nonzero for MRWs and EQWs, and it may be estimated using the virial theorem. Concerning the effect of waves on the mean flow, [Formula: see text] represents an additional effect in the pressure gradient term of both (the three-dimensional versions of) the transformed EM momentum equations and the merged form of the EM momentum equations, the latter of which is associated with the nonacceleration theorem.

Abstract Despite the advances in theories and data availability since the first observation of stratospheric sudden warmings (SSWs) in the 1950s, some dynamical aspects of SSWs remain elusive, including the roles of wave transience at finite amplitude and irreversible wave dissipation due to mixing. This is likely due to a limitation of the traditional theory for SSWs that is tailored to small-amplitude waves and is unsuitable for large-scale wave events. To circumvent these difficulties, the authors utilized a novel approach based on finite-amplitude wave activity theory to quantify the roles of finite-amplitude wave transience and mixing in the life cycle of SSWs. In this framework, a departure from the exact nonacceleration relation can be directly attributed to irreversible mixing and diabatic forcings. The results show that prior to the warming event, an increase in pseudomomentum/wave activity largely compensates for the anomalous Eliassen–Palm flux convergence, while the total wave dissipation due to mixing (enstrophy dissipation) and radiative forcing only plays a secondary role. After the vortex breaks down, enhanced mixing increases irreversible wave dissipation and in turn slows down vortex recovery. It is shown that (i) a rapid recovery of the polar vortex is characterized by weak wave transience that follows a nonacceleration relation reversibly and (ii) a delayed recovery is attributed to stronger and more persistent irreversible wave dissipation due to mixing, a deviation from the classical nonacceleration relation. The results highlight the importance of mixing in the asymmetry between breakdown and recovery of the polar vortex during SSWs.

Abstract A diagnostic relationship between finite-amplitude wave activity and the associated adiabatic adjustments to the zonal-mean zonal wind and temperature is developed in the quasigeostrophic (QG) framework and is applied to a 23-yr segment (1979–2001) of the 40-yr ECMWF Re-Analysis (ERA-40) data. Wave activity is defined in terms of an instantaneous areal displacement of QG potential vorticity (PV) from zonal symmetry. Unlike previous forms, the tendency of wave activity equals exactly the negative of the eddy PV flux (Eliassen–Palm flux divergence) in the conservative limit, even at finite amplitude. This allows one to integrate the transformed Eulerian mean (TEM) theory in time and quantify the departure (adiabatic adjustment) of the zonal-mean state from an eddy-free reference state in terms of the observed wave activity. The structure of wave activity identifies synoptic eddies in the extratropics and planetary waves in the high latitudes of winter-to-spring stratosphere. In addition, a thin layer of high wave activity is found at the top of the lowermost stratosphere (∼17 km) in the summer extratropics. The reference state is constructed by “zonalizing” the PV contours conservatively (preserving area) on the isobaric surface and by inverting the resultant PV gradient for the mean flow. The adjustment associated with wave activity depends on the assumed surface boundary condition for the reference state. With a no-slip condition, the observed zonal-mean temperature is on average ∼33 (90) K higher than the reference state in the troposphere (stratosphere) of the Arctic winter, while the zonal-mean zonal wind is ∼30 m s−1 slower in the upper stratosphere. Since the reference state filters out the advective eddy–mean flow interaction, it fluctuates less than the zonal-mean state, potentially improving the signal-to-noise ratio for climate diagnosis.

Abstract A quantitative examination of the annual cycle in the tropical tropopause temperatures, tropical ascent, momentum balance, and wave driving is performed using ECMWF analyses to determine how the annual cycle in tropical tropopause temperatures arises. Results show that the annual cycle in tropical tropopause temperatures is driven by the annual variation in ascent and consequent dynamical (adiabatic) cooling at the tropical tropopause. Mass divergence local to the tropical tropopause has the dominant contribution to ascent near the tropical tropopause. The annual cycle in mass divergence, and the associated meridional flow, near the tropical tropopause is driven by Eliassen–Palm (EP) flux divergence, that is, wave dissipation. The EP flux divergence near the tropical tropopause is dominated by stationary waves with both the horizontal and vertical components of the EP flux contributing. However, the largest annual cycle is in the divergence of the vertical EP flux and in particular from the contribution in the vertical flux of zonal momentum. These results do not match the existing theory that the annual cycle is driven by the wave dissipation in the extratropical stratosphere, that is, the stratospheric pump. It is suggested that the annual cycle is linked to equatorial Rossby waves forced by convective heating in the tropical troposphere.

Abstract Potential intensity theory predicts that the upper-tropospheric temperature acts as an important constraint on tropical cyclone (TC) intensity. The physical mechanisms through which the upper troposphere impacts TC intensity and structure have not been fully explored, however, due in part to limited observations and the complex interactions between clouds, radiation, and TC dynamics. In this study, idealized Weather Research and Forecasting Model ensembles initialized with a combination of three different tropopause temperatures and with no radiation, longwave radiation only, and full diurnal radiation are used to examine the physical mechanisms in the TC–upper-tropospheric temperature relationship on weather time scales. Simulated TC intensity and structure are strongly sensitive to colder tropopause temperatures using only longwave radiation, but are less sensitive using full radiation and no radiation. Colder tropopause temperatures result in deeper convection and increased ice mass aloft in all cases, but are more intense only when radiation was included. Deeper convection leads to increased local longwave cooling rates but reduced top-of-the-atmosphere outgoing longwave radiation, such that the total radiative heat sink is reduced from a Carnot engine perspective in stronger storms. We hypothesize that a balanced response in the secondary circulation described by the Eliassen equation arises from upper-troposphere radiative cooling anomalies that lead to stronger tangential winds. The results of this study further suggest that radiation and cloud–radiative feedbacks have important impacts on weather time scales.

PERFORMATIVE UTOPIAS IN CONTEMPORARY ART | The article deals with the current interest in the notion of utopia within contemporary visual art and theory. It is argued that utopia as a concept and area of investigation has returned on the contemporary art scene, albeit in a remarkably new way. If modernism presented utopia as a final vision for a better society, utopia is now articulated in a less ambitious way, in the vein of the much more modest question “what if”? Basing its argument on art projects by Andrea Zittel, Olafur Eliasson, Francis Alÿs and Tomàs Saraceno among others, the article puts forward the notion of a “performative utopia” – a utopia that is enacted rather than represented, and which is thus contextually and situationally defined. In the article the notion of a performative utopia is related to Nicolas Bourriaud’s idea of the “microutopia” and Fredric Jameson’s distinction between utopia as program and impulse. In conclusion it is stated that in as much as the contemporary utopia does not necessarily describe a fixed reality, its main objective is to project new visions. Hence, its criticality is not descriptively based, but lies in its ability to present a counter-image that calls on the imagination of the viewer. A plea is made for this kind of criticality as it is argued that challenging the boundaries of our imagination in itself constitutes a true cultural transformation.

Abstract In this study, a simple two-dimensional (2D) unforced barotropic model is used to study the asymmetric dynamics of the hurricane inner-core region and to assess their impact on the structure and intensity change. Two sets of experiments are conducted, starting with stable and unstable annular vortices, to mimic intense mature hurricane-like vortices. The theory of empirical normal modes (ENM) and the Eliassen–Palm flux theorem are then applied to extract the dominant wave modes from the dataset and diagnose their kinematics, structure, and impact on the primary vortex. From the first experiment, it is found that the evolution and the lifetime of an elliptical eyewall, described by a stable annular vortex perturbed by an external wavenumber-2 impulse, may be controlled by the inviscid damping of sheared vortex Rossby waves (VRWs) or the decay of an excited quasimode. The critical radius and structure of the quasimode obtained by the ENM analysis are shown to be consistent with the predictions of a linear eigenmode analysis of small perturbations. From the second experiment, it is found that the outward-propagating VRWs that arise due to barotropic instability and the inward mixing of high vorticity in the unstable annular vortex affect the primary circulation and create a secondary ring of enhanced vorticity that contains a secondary wind maximum. Sensitivity tests performed on the spatial extent of the initial external impulse verifies the robustness of the results. That the secondary eyewall occurs close to the critical radius of some of the dominant modes emphasizes the important role played by the VRWs.

There exists a well-developed body of theory based on quasi-geostrophic (QG) dynamics that is central to our present understanding of large-scale atmospheric and oceanic dynamics. An important question is the extent to which this body of theory may generalize to more accurate dynamical models. As a first step in this process, we here generalize a set of theoretical results, concerning the evolution of disturbances to prescribed basic states, to semi-geostrophic (SG) dynamics. SG dynamics, like QG dynamics, is a Hamiltonian balanced model whose evolution is described by the material conservation of potential vorticity, together with an invertibility principle relating the potential vorticity to the advecting fields. SG dynamics has features that make it a good prototype for balanced models that are more accurate than QG dynamics.In the first part of this two-part study, we derive a pseudomomentum invariant for the SG equations, and use it to obtain: (i) linear and nonlinear generalized Charney–Stern theorems for disturbances to parallel flows; (ii) a finite-amplitude local conservation law for the invariant, obeying the group-velocity property in the WKB limit; and (iii) a wave-mean-flow interaction theorem consisting of generalized Eliassen–Palm flux diagnostics, an elliptic equation for the stream-function tendency, and a non-acceleration theorem. All these results are analogous to their QG forms.The pseudomomentum invariant – a conserved second-order disturbance quantity that is associated with zonal symmetry – is constructed using a variational principle in a similar manner to the QG calculations. Such an approach is possible when the equations of motion under the geostrophic momentum approximation are transformed to isentropic and geostrophic coordinates, in which the ageostrophic advection terms are no longer explicit. Symmetry-related wave-activity invariants such as the pseudomomentum then arise naturally from the Hamiltonian structure of the SG equations. We avoid use of the so-called ‘massless layer’ approach to the modelling of isentropic gradients at the lower boundary, preferring instead to incorporate explicitly those boundary contributions into the wave-activity and stability results. This makes the analogy with QG dynamics most transparent.This paper treats the f-plane Boussinesq form of SG dynamics, and its recent extension to β-plane, compressible flow by Magnusdottir & Schubert. In the limit of small Rossby number, the results reduce to their respective QG forms. Novel features particular to SG dynamics include apparently unnoticed lateral boundary stability criteria in (i), and the necessity of including additional zonal-mean eddy correlation terms besides the zonal-mean potential vorticity fluxes in the wave-mean-flow balance in (iii).In the companion paper, wave-activity conservation laws and stability theorems based on the SG form of the pseudoenergy are presented.

Abstract The mean meridional circulation of the atmosphere is presented using the mass (more specifically, the pressure corresponding to the mass) above the isentrope of interest as the vertical coordinate. In this vertical coordinate, the mass-weighted mean circulation is exactly balanced by entropy sources and sinks with no eddy flux contribution as in the isentropic coordinate, and the coordinate can be readily generalized to the mass above moist isentropes or other quasi-conservative tracers by construction. The corresponding Eliassen–Palm (EP) flux divergence for the zonal-mean angular momentum is formulated in a hybrid isobaric–isentropic form, extending the conventional transformed Eulerian-mean (TEM) formulation to finite-amplitude nongeostrophic eddies on the sphere. In the small-amplitude limit, the hybrid isobaric–isentropic formulation reduces to the TEM formulation. Applying to the NCEP–U.S. Department of Energy (DOE) Reanalysis 2, the new formulation resolves the deficiency of the conventional TEM formulation for the near-surface flow, where the isentropic surface intersects the ground, and the mean circulation agrees well with the TEM above the near-surface layer. In the small-amplitude limit, this improvement near the surface can be partially attributed to the isentropic static stability over the isobaric counterpart, as the mass density in the near-surface isentropic layers gradually approaches zero. Also, the mean mass streamfunction can be approximately obtained from the EP flux divergence except for the deep tropics or the near-surface flow, highlighting the dominant control of potential vorticity mixing for the subtropics-to-pole mean circulations. It is then expected to provide a valuable diagnostic framework not only for global circulation theory, but also for atmospheric transport in the troposphere.

Abstract Idealized experiments with the Whole Atmosphere Community Climate Model (WACCM) are used to explore the mechanism(s) whereby the stratospheric quasi-biennial oscillation (QBO) modulates the Northern Hemisphere wintertime stratospheric polar vortex. Overall, the effect of the critical line emphasized in the Holton–Tan mechanism is less important than the effect of the mean meridional circulation associated with QBO winds for the polar response to the QBO. More specifically, the introduction of easterly winds at the equator near 50 hPa 1) causes enhanced synoptic-scale Eliassen–Palm flux (EPF) convergence in the subtropics from 150 to 50 hPa, which leads to the subtropical critical line moving poleward in the lower stratosphere, and 2) creates a barrier to planetary wave propagation from subpolar latitudes to midlatitudes in the middle and upper stratosphere (e.g., less equatorward EPF near 50°N), which leads to enhanced planetary wave convergence in the polar vortex region. These two effects are mechanistically distinct; while the former is related to the subtropical critical line, the latter is due to the mean meridional circulation of the QBO. All of these effects are consistent with linear theory, although the evolution of the entire wind distribution is only quasi-linear because induced zonal wind changes cause the wave driving to shift and thereby positively feed back on the zonal wind changes. Finally, downward propagation of the QBO in the equatorial stratosphere, upper stratospheric equatorial zonal wind, and changes in the tropospheric circulation appear to be less important than lower stratospheric easterlies for the polar stratospheric response. Overall, an easterly QBO wind anomaly in the lower stratosphere leads to a weakened stratospheric polar vortex, in agreement with previous studies, although not because of changes in the subtropical critical line.

Abstract The gravity waves (GWs) generated by potential vorticity (PV) anomalies in a rotating stratified shear flow are examined under the assumptions of constant vertical shear, two-dimensionality, and unbounded domain. Near a PV anomaly, the associated perturbation is well modeled by quasigeostrophic theory. This is not the case at large vertical distances, however, and in particular beyond the two inertial layers that appear above and below the anomaly; there, the perturbation consists of vertically propagating gravity waves. This structure is described analytically, using an expansion in the continuous spectrum of the singular modes that results from the presence of critical levels. Several explicit results are obtained. These include the form of the Eliassen–Palm (EP) flux as a function of the Richardson number N 2/Λ2, where N is the Brunt–Väisälä frequency and Λ the vertical shear. Its nondimensional value is shown to be approximately exp(−πN/Λ)/8 in the far-field GW region, approximately twice that between the two inertial layers. These results, which imply substantial wave–flow interactions in the inertial layers, are valid for Richardson numbers larger than 1 and for a large range of PV distributions. In dimensional form they provide simple relationships between the EP fluxes and the large-scale flow characteristics. As an illustration, the authors consider a PV disturbance with an amplitude of 1 PVU and a depth of 1 km, and estimate that the associated EP flux ranges between 0.1 and 100 mPa for a Richardson number between 1 and 10. These values of the flux are comparable with those observed in the lower stratosphere, which suggests that the mechanism identified in this paper provides a substantial gravity wave source, one that could be parameterized in GCMs.

Abstract An exact diagnostic formalism for finite-amplitude eddy–mean flow interaction is developed for barotropic and quasigeostrophic baroclinic flows on the beta plane. Based on the advection–diffusion–reaction equation for potential vorticity (PV), the formalism quantifies both advective and diffusive contributions to the mean flow modification by eddies, of which the latter is the focus of the present article. The present theory adopts a hybrid Eulerian–Lagrangian-mean description of the flow and defines finite-amplitude wave activity in terms of the areal displacement of PV contours from zonal symmetry. Unlike previous formalisms, wave activity is readily calculable from data and the local Eliassen–Palm relation does not involve cubic or higher-order terms in eddy amplitude. This leads to a natural finite-amplitude extension to the local nonacceleration theorem, as well as the global stability theorems, in the inviscid and unforced limit. The formalism incorporates mixing with effective diffusivity of PV, and the diffusive flux of PV is shown to be a sink of wave activity. The relationship between the advective and diffusive fluxes of PV and its implications for parameterization are discussed in the context of wave activity budget. If all momentum associated with wave activity were returned to the zonal-mean flow, a balanced eddy-free flow would ensue. It is shown that this hypothetical flow uREF is unaffected by the advective PV flux and is driven solely by the diffusive PV flux and forcing. For this reason, uREF, rather than the zonal-mean flow, is proposed as a diagnostic for the diffusive mean-flow modification. The formalism is applied to a freely decaying beta-plane turbulence to evaluate the contribution of the diffusive PV flux to the jet formation.

We used observational data and the results from a high-resolution numerical simulation model to analyze the occurrence and development of an extreme precipitation event in the Ili Valley, Xinjiang, China on 26 June 2015. We analyzed the horizontal wavelength, period, speed, ducting, energy propagation and feedback mechanism of inertial gravity waves. A low-level convergence line was formed in the valley by the northerly and westerly winds as a result of Central Asian vortices and the trumpet-shaped topography of the Ili Valley. There was sufficient water vapor in the valley for the precipitation event to develop. A mesoscale vortex formed and developed on the low-level convergence line and the rainfall was distributed either near the convergence line or the mesoscale vortex. The low-level convergence line and the uplift caused by the terrain triggered convection, and then the convection triggered waves at lower levels. The combination of ascending motion induced by the lower level waves and the mesoscale vortex led to the development of convection, causing the precipitation to intensify. When the convection moved eastward to Gongliu County, it was coupled with the ascending phase of upper level waves, causing both the convection and precipitation to intensify again. We applied spectral analysis methods to verify that the waves were inertial gravity waves. The upper level inertial gravity waves propagated westward at a mean speed of −12 m s−1 with periods of 73–179 min and horizontal wavelengths of 50–55 km. The lower level inertial gravity waves propagated eastward at a mean speed of 8 m s−1 with periods of 73–200 min and a horizontal wavelength of 85 km. The more (less) favorable waveguide conditions determined whether the gravity waves persisted for a long (short) time and propagated for a longer (shorter) distance. Based on the mesoscale Eliassen–Palm flux theory, the wave energy of inertial gravity waves had an important effect on the maintenance and development of convection and precipitation by affecting wind strength and wind divergence. Feedback was mainly through the meridional and vertical transport of zonal momentum and the meridional transport of heat.

Abstract A study is performed on the energetics of planetary wave forcing associated with the variability of the northern winter polar vortex. The analysis relies on a three-dimensional normal mode expansion of the atmospheric general circulation that allows partitioning the total (i.e., kinetic + available potential) atmospheric energy into the energy associated with Rossby and inertio-gravity modes with barotropic and baroclinic vertical structures. The analysis mainly departs from traditional ones in respect to the wave forcing, which is here assessed in terms of total energy amounts associated with the waves instead of heat and momentum fluxes. Such an approach provides a sounder framework than traditional ones based on Eliassen–Palm (EP) flux diagnostics of wave propagation and related concepts of refractive indices and critical lines, which are strictly valid only in the cases of small-amplitude waves and in the context of the Wentzel–Kramers–Brillouin–Jeffries (WKBJ) approximation. Positive (negative) anomalies of the energy associated with the first two baroclinic modes of the planetary Rossby wave with zonal wavenumber 1 are followed by a downward progression of negative (positive) anomalies of the vortex strength. A signature of the vortex vacillation is also well apparent in the lagged correlation curves between the wave energy and the vortex strength. The analysis of the correlations between individual Rossby modes and the vortex strength further confirmed the result from linear theory that the waves that force the vortex are those associated with the largest zonal and meridional scales. The two composite analyses of displacement- and split-type stratospheric sudden warming (SSW) events have revealed different dynamics. Displacement-type SSWs are forced by positive anomalies of the energy associated with the first two baroclinic modes of planetary Rossby waves with zonal wavenumber 1; split-type SSWs are in turn forced by positive anomalies of the energy associated with the planetary Rossby wave with zonal wavenumber 2, and the barotropic mode appears as the most important component. In respect to stratospheric final warming (SFW) events, obtained results suggest that the wave dynamics is similar to the one in displacement-type SSW events.

Eating habits develop during the first years of a child's life, children learn what, when, and how much to eat through direct experience with food and by observing the eating habits of others. The aim of this study is to get a clear picture of the Eating program Healthy, starting from the planning, implementation, supervision, and evaluation as a case study of nutrition education; to get information about the advantages, disadvantages and effects of implementing a healthy eating program for children. This research was conducted through a case study with qualitative data analysed using Miles and Huberman techniques. Sample of children in Ananda Islāmic School Kindergarten. The results showed the Healthy Eating program could be implemented well, the diet was quite varied and could be considered a healthy and nutritious food. The visible impact is the emotion of pleasure experienced by children, children become fond of eating vegetables, and make children disciplined and responsible. Inadequate results were found due to the limitations of an adequate kitchen for cooking healthy food, such as cooking activities still carried out by the cook himself at the Foundation's house which is located not far from the school place; use of melamine and plastic cutlery for food; the spoon and fork used already uses aluminium material but still does not match its size; does not involve nutritionists. Keywords: Early Childhood, Eating Healthy Program References: Bandura, A. (1977). Social learning theory. Englewood Cliffs: Prentice-Hall. Bandura, Albert. (2004). Health promotion by social cognitive means. Health Education and Behavior, 31(2), 143–164. https://doi.org/10.1177/1090198104263660 Battjes-Fries, M. C. E., Haveman-Nies, A., Renes, R. J., Meester, H. J., & Van’T Veer, P. (2015). Effect of the Dutch school-based education programme “Taste Lessons” on behavioural determinants of taste acceptance and healthy eating: A quasi-experimental study. Public Health Nutrition, 18(12), 2231–2241. https://doi.org/10.1017/S1368980014003012 Birch, L., Savage, J. S., & Ventura, A. (2007). Influences on the Development of Children’s Eating Behaviours: From Infancy to Adolescence. Canadian Journal of Dietetic Practice and Research : A Publication of Dietitians of Canada = Revue Canadienne de La Pratique et de La Recherche En Dietetique : Une Publication Des Dietetistes Du Canada, 68(1), s1– s56. Retrieved from http://www.ncbi.nlm.nih.gov/pubmed/19430591%0Ahttp://www.pubmedcentral.nih.gov/a rticlerender.fcgi?artid=PMC2678872 Coulthard, H., Williamson, I., Palfreyman, Z., & Lyttle, S. (2018). Evaluation of a pilot sensory play intervention to increase fruit acceptance in preschool children. Appetite, 120, 609–615. https://doi.org/10.1016/j.appet.2017.10.011 Coulthard, Helen, & Sealy, A. (2017). Play with your food! Sensory play is associated with tasting of fruits and vegetables in preschool children. Appetite, 113, 84–90. https://doi.org/10.1016/j.appet.2017.02.003 Crain, W. C. (2005). Theories of development: Concepts and applications. Upper Saddle River: Pearson Prentice Hall. Dazeley, P., Houston-Price, C., & Hill, C. (2012). Should healthy eating programmes incorporate interaction with foods in different sensory modalities? A review of the evidence. British Journal of Nutrition, 108(5), 769–777. https://doi.org/10.1017/S0007114511007343 Derscheid, L. E., Umoren, J., Kim, S. Y., Henry, B. W., & Zittel, L. L. (2010). Early childhood teachers’ and staff members’ perceptions of nutrition and physical activity practices for preschoolers. Journal of Research in Childhood Education, 24(3), 248–265. https://doi.org/10.1080/02568543.2010.487405 Eliassen, E. K. (2011). The impact of teachers and families on young children’s eating behaviors. YC Young Children, 66(2), 84–89. Elliott, E., Isaacs, M., & Chugani, C. (2010). Promoting Self-Efficacy in Early Career Teachers: A Principal’s Guide for Differentiated Mentoring and Supervision. Florida Journal of Educational Administration & Policy, 4(1), 131–146. Emm, S., Harris, J., Halterman, J., Chvilicek, S., & Bishop, C. (2019). Increasing Fruit and Vegetable Intake with Reservation and Off-reservation Kindergarten Students in Nevada. Journal of Agriculture, Food Systems, and Community Development, 9, 1–10. https://doi.org/10.5304/jafscd.2019.09b.014 Flynn, M. A. T. (2015). Empowering people to be healthier: Public health nutrition through the Ottawa Charter. Proceedings of the Nutrition Society, 74(3), 303–312. https://doi.org/10.1017/S002966511400161X Franciscato, S. J., Janson, G., Machado, R., Lauris, J. R. P., de Andrade, S. M. J., & Fisberg, M. (2019). Impact of the nutrition education Program Nutriamigos® on levels of awareness on healthy eating habits in school-aged children. Journal of Human Growth and Development, 29(3), 390–402. https://doi.org/10.7322/jhgd.v29.9538 Froehlich Chow, A., & Humbert, M. L. (2014). Perceptions of early childhood educators: Factors influencing the promotion of physical activity opportunities in Canadian rural care centers. Child Indicators Research, 7(1), 57–73. https://doi.org/10.1007/s12187-013-9202-x Graham, H., Feenstra, G., Evans, A. M., & Zidenberg-Cherr, S. (2002). Healthy Eating Habits in Children. California Agriculture, 58(4), 200–205. Gucciardi, E., Nagel, R., Szwiega, S., Chow, B. Y. Y., Barker, C., Nezon, J., ... Butler, A. (2019). Evaluation of a Sensory-Based Food Education Program on Fruit and V egetable Consumption among Kindergarten Children. Journal of Child Nutrition & Management, 43(1). Holley, C. E., Farrow, C., & Haycraft, E. (2017). A Systematic Review of Methods for Increasing Vegetable Consumption in Early Childhood. Current Nutrition Reports, 6(2), 157–170. https://doi.org/10.1007/s13668-017-0202-1 Hoppu, U., Prinz, M., Ojansivu, P., Laaksonen, O., & Sandell, M. A. (2015). Impact of sensory- based food education in kindergarten on willingness to eat vegetables and berries. Food and Nutrition Research, 59, 1–8. https://doi.org/10.3402/fnr.v59.28795 Jarpe-Ratner, E., Folkens, S., Sharma, S., Daro, D., & Edens, N. K. (2016). An Experiential Cooking and Nutrition Education Program Increases Cooking Self-Efficacy and Vegetable Consumption in Children in Grades 3–8. Journal of Nutrition Education and Behavior, 48(10), 697-705.e1. https://doi.org/10.1016/j.jneb.2016.07.021 Jones, A. M., & Zidenberg-Cherr, S. (2015). Exploring Nutrition Education Resources and Barriers, and Nutrition Knowledge in Teachers in California. Journal of Nutrition Education and Behavior, 47(2), 162–169. https://doi.org/10.1016/j.jneb.2014.06.011 Jung, T., Huang, J., Eagan, L., & Oldenburg, D. (2019). Influence of school-based nutrition education program on healthy eating literacy and healthy food choice among primary school children. International Journal of Health Promotion and Education, 57(2), 67–81. https://doi.org/10.1080/14635240.2018.1552177 Lwin, M. O., Malik, S., Ridwan, H., & Sum Au, C. S. (2017). Media exposure and parental mediation on fast-food consumption among children in metropolitan and suburban Indonesian. Asia Pacific Journal of Clinical Nutrition, 26(5), 899–905. https://doi.org/10.6133/apjcn.122016.04 Mc Kenna, & L, M. (2010). Policy Options to Support Healthy Eating in Schools. Canadian Journal of Public Health, 101(2), S14–S18. https://doi.org/10.1007/BF03405619 Menkes, R. PERATURAN MENTERI KESEHATAN REPUBLIK INDONESIA NOMOR 41 TAHUN 2014. , Menteri Kesehatan Republik Indonesia § (2014). Mitsopoulou, A. V., Magriplis, E., Dimakopoulos, I., Karageorgou, D., Bakogianni, I., Micha, R., ... Zampelas, A. (2019). Association of meal and snack patterns with micronutrient intakes among Greek children and adolescents: data from the Hellenic National Nutrition and Health Survey. Journal of Human Nutrition and Dietetics, 32(4), 455–467. https://doi.org/10.1111/jhn.12639 Moffitt, A. (2019). Early Childhood Educators and the Development of Family Literacy Programs: A Qualitative Case Study. ProQuest Dissertations and Theses, 96. Retrieved from http://proxy.mul.missouri.edu/login?url=https://search.proquest.com/docview/2242479347 ?accountid=14576%0Ahttps://library.missouri.edu/findit?genre=dissertations+%26+theses &title=Early+Childhood+Educators+and+the+Development+of+Family+Literacy+Progra ms%3A+ Mustonen, S., & Tuorila, H. (2010). Sensory education decreases food neophobia score and encourages trying unfamiliar foods in 8-12-year-old children. Food Quality and Preference, 21(4), 353–360. https://doi.org/10.1016/j.foodqual.2009.09.001 Myszkowska-Ryciak, J., & Harton, A. (2019). Eating healthy, growing healthy: Outcome evaluation of the nutrition education program optimizing the nutritional value of preschool menus, Poland. Nutrients, 11(10), 1–17. https://doi.org/10.3390/nu11102438 Nekitsing, C., Hetherington, M. M., & Blundell-Birtill, P. (2018). Developing Healthy Food Preferences in Preschool Children Through Taste Exposure, Sensory Learning, and Nutrition Education. Current Obesity Reports, 7(1), 60–67. https://doi.org/10.1007/s13679- 018-0297-8 Noura, M. S. pd. (2018). Child nutrition programs in kindergarten schools implemented by the governmental sector and global nutrition consulting companies: A systematic review. Current Research in Nutrition and Food Science, 6(3), 656–663. https://doi.org/10.12944/CRNFSJ.6.3.07 Oh, S. M., Yu, Y. L., Choi, H. I., & Kim, K. W. (2012). Implementation and Evaluation of Nutrition Education Programs Focusing on Increasing Vegetables, Fruits and Dairy Foods Consumption for Preschool Children. Korean Journal of Community Nutrition, 17(5), 517. https://doi.org/10.5720/kjcn.2012.17.5.517 Osera, T., Tsutie, S., & Kobayashi, M. (2016). Using Soybean Products in School Lunch for Health Education may improve Children’s Attitude and Guardians’ Knowledge in Kindergarten. Journal of Child and Adolescent Behaviour, 04(05). https://doi.org/10.4172/2375-4494.1000310 Park, B. K., & Cho, M. S. (2016). Taste education reduces food neophobia and increases willingness to try novel foods in school children. Nutrition Research and Practice, 10(2), 221–228. https://doi.org/10.4162/nrp.2016.10.2.221 Pendidikan, K., & Kebudayaan, D. A. N. Menteri Pendidikan Dan Kebudayaan Republik Indonesia Nomor 137 Tahun 2013 Tentang Standar Nasional Pendidikan Anak Usia Dini. , (2015). Prima, E., Yuliantina, I., Nurfadillah, Handayani, I., Riana, & Ganesa, R. eni. (2017). Layanan Kesehatan,Gizi dan Perawatan. Jakarta: Direktorat Pembinaan Pendidikan Anak Usia Dini Direktorat Jenderal Pendidikan Anak Usia Dini dan Pendidikan Masyarakat Kementerian Pendidikan dan Kebudayaan. Resor, J., Hegde, A. V., & Stage, V. C. (2020). Pre-service early childhood educators’ perceived barriers and supports to nutrition education. Journal of Early Childhood Teacher Education, 00(00), 1–17. https://doi.org/10.1080/10901027.2020.1740841 Rizqie Aulianaca5804p200-169314. (2011). Gizi Seimbang Dan Makanan Sehat Untuk Anak Usia Dini. Journal of Nutrition and Food Research, 2(1), 1–12. Retrieved from http://staff.uny.ac.id/sites/default/files/pengabdian/rizqie-auliana-dra-mkes/gizi-seimbang- dan-makanan-sehat-untuk-anak-usia-dini.pdf Sandell, M., Mikkelsen, B. E., Lyytikäinen, A., Ojansivu, P., Hoppu, U., Hillgrén, A., & Lagström, H. (2016). Future for food education of children. Futures, 83, 15–23. https://doi.org/10.1016/j.futures.2016.04.006 Schanzenbach, D. W., & Thorn, B. (2019). Food Support Programs and Their Impacts on Young Children. Health Affairs, (march). Retrieved from https://www.healthaffairs.org/briefs Schmitt, S. A., Bryant, L. M., Korucu, I., Kirkham, L., Katare, B., & Benjamin, T. (2019). The effects of a nutrition education curriculum on improving young children’s fruit and vegetable preferences and nutrition and health knowledge. Public Health Nutrition, 22(1), 28–34. https://doi.org/10.1017/S1368980018002586 Sekiyama, M., Roosita, K., & Ohtsuka, R. (2012). Snack foods consumption contributes to poor nutrition of rural children in West Java, Indonesia. Asia Pacific Journal of Clinical Nutrition, 21(4), 558–567. https://doi.org/10.6133/apjcn.2012.21.4.11 Sepp, H., & Ho, K. (2016). Food as a tool for learning in everyday activities at preschool exploratory study from Sweden. Food & Nurtition Research, 1, 1–7. Shor, R., & Friedman, A. (2009). Integration of nutrition-related components by early childhood education professionals into their individual work with children at risk. Early Child Development and Care, 179(4), 477–486. https://doi.org/10.1080/03004430701269218 Taylor, C. M., & Emmett, P. M. (2019). Picky eating in children: Causes and consequences. Proceedings of the Nutrition Society, 78(2), 161–169. https://doi.org/10.1017/S0029665118002586 Taylor, C. M., Steer, C. D., Hays, N. P., & Emmett, P. M. (2019). Growth and body composition in children who are picky eaters: a longitudinal view. European Journal of Clinical Nutrition, 73(6), 869–878. https://doi.org/10.1038/s41430-018-0250-7 Unusan, N. (2007). Effects of a food and nutrition course on the self-reported knowledge and behavior of preschool teacher candidates. Early Childhood Education Journal, 34(5), 323– 327. https://doi.org/10.1007/s10643-006-0116-9 Usfar, A. A., Iswarawanti, D. N., Davelyna, D., & Dillon, D. (2010). Food and Personal Hygiene Perceptions and Practices among Caregivers Whose Children Have Diarrhea: A Qualitative Study of Urban Mothers in Tangerang, Indonesia. Journal of Nutrition Education and Behavior, 42(1), 33–40. https://doi.org/10.1016/j.jneb.2009.03.003 Witt, K. E., & Dunn, C. (2012). Increasing Fruit and V egetable Consumption among Preschoolers: Evaluation of Color Me Healthy. Journal of Nutrition Education and Behavior, 44(2), 107–113. https://doi.org/10.1016/j.jneb.2011.01.002

This article draws on Elias’s sociology of knowledge to delineate the social processes that have culminated in the development of the post-truth phenomenon. It argues that technological and social changes have led to a complex commingling of increased emotion and increasingly ‘rational’ debating techniques. These have been accompanied by an increasing human capacity to consider issues on multiple ‘levels’ and anticipate the varied ways in which different audiences could perceive particular propositions. While these changes explain the polarisation of views characteristic of post-truth, the theory of informalisation is invoked to explain the relative absence of shame at the public exposure of ‘untruths’. The article expands debates in communication and science and technology studies to locate post-truth as an emergent form of knowledge contingent upon new forms of communication, a re-structuring of social interdependencies and changes in modes of thinking. In so doing, it advances the sociological analysis of knowledge.

The present text presents a pedagogical account about an exhibition of the works of the Norwegian painter: Edvard Munch, in a class of higher education. The exhibition closes a teaching unit on morals and ethics, where Lawrence Kolhberg's theory of moral development was approached. The experiences demonstrated how the students' interaction was largely satisfactory and how the use of art in the classroom can be an auspicious formation experience, provided that the objective conditions, that is, the proper preparation and organization of didactic aspects, as well as mediation pedagogic it enables a kind of "awareness of the student to contemplation".ResumoO presente texto apresenta um relato pedagógico sobre uma exposição das obras do pintor norueguês: Edvard Munch, em uma turma de ensino superior. A exposição encerrou uma unidade didática sobre moral e ética, na qual a teoria do desenvolvimento moral de Lawrence Kolhberg foi abordada. A experiência evidenciou como a interação dos alunos foi amplamente satisfatória e como o uso da arte em sala de aula pode ser uma experiência formativa auspiciosa, contanto que as condições objetivas, isto é, a devida preparação e organização dos aspectos didáticos, tanto quanto a mediação pedagógica possibilitem uma espécie de "sensibilização do olhar" discente.Palavras-chave: Arte, Edvard Munch, Educação, Moral e Ética.Keywords: Art, Edvard Munch, Education, Moral, Ethic.ReferencesASSIS, Eliasaf Rodrigues de et al. Lawrence Kohlberg e os anos de chumbo: demandas por justiça e a procura pela moralidade pós-convencional. ETD - Educação Temática Digital Campinas, SP v.20 n.1 p. 276-297 jan./mar.2018.BISCHOFF, Ulrich. Edvard Munch: Imagens de vida e de morte. São Paulo: Paisagem, 2006.BOFF, Leonardo. Saber Cuidar: ética do humano - compaixão pela Terra. Petrópolis: Editora Vozes, 1999.CLARKE, Jay A. Becoming Edvard Munch - Influence, anxiety, and myth. Chicago: The art institute of Chicago, 2009.KOHLBERG, Lawrence. The philosophy of moral development. San Francisco: Harper & How Publishers, 1981.LA TAILLE, Yve de. Moral e ética: Dimensões intelectuais e afetivas. Porto Alegre: Artmed, 2006.YOSHIKAI, Livia Midori Okino. A estratégia de discussão de dilemas morais e o desenvolvimento moral de adolescentes. Monografia apresentada ao Departamento de Psicologia como requisito para obtenção do título de Bacharel em Psicologia. São Carlos: UFSCar, 2004.

Introduction In this article, I explore the phenomenon of augmentation by questioning its representational nature and analyzing aesthetic modes of our interrelationship with the environment. How can senses be augmented and how do they serve as mechanisms of enhancing the feeling of presence? Media art practices offer particularly valuable scenarios of activating such mechanisms, as the employment of digital technology allows them to operate on a more subtle level of perception. Given that these practices are continuously evolving, this analysis cannot claim to be a comprehensive one, but rather aims to introduce aspects of the specific relations between augmentation, sense of proprioception, technology, and art. Proprioception is one of the least detectable and trackable human senses because it involves our intuitive sense of positionality, which suggests a subtle equilibrium between a center (our individual bodies) and the periphery (our immediate environments). Yet, as any sense, proprioception implies a communicational chain, a network of signals traveling and exchanging information within the body-mind complex. The technological augmentation of this dynamic process produces an interference in our understanding of the structure and elements, the information sent/received. One way to understand the operations of the senses is to think about them as images that the mind creates for itself. Artistic intervention (usually) builds upon exactly this logic: representation of images generated in mind, supplementing or even supplanting the existing collection of inner images with new, created ones. Yet, in case of proprioception the only means to interfere with and augment these inner images is on bodily level. Hence, the question of communication through images (or representations) should be extended towards a more complex theory of embodied perception. Drawing on phenomenology, cognitive science, and techno-cultural studies, I focus on the potential of biofeedback technologies to challenge and transform our self-perception by conditioning new pathways of apprehension (sometimes by creating mechanisms of direct stimulation of neural activity). I am particularly interested in how the awareness of the self (grounded in the felt relationality of our body parts) is most significantly activated at the moments of disturbance of balance, in situations of perplexity and disorientation. Projects by Marco Donnarumma, Sean Montgomery, and other artists working with biofeedback aesthetically validate and instantiate current research about neuro-plasticity, with technologically mediated sensory augmentation as one catalyst of this process. Augmentation as Representation: Proprioception and Proprioceptive Media Representation has been one of the key ways to comprehend reality. But representation also constitutes a spatial relation of distancing and separation: the spectator encounters an object placed in front of him, external to him. Thus, representation is associated more with an analytical, rather than synthetic, methodology because it implies detachment and division into parts. Both methods involve relation, yet in the case of representation there is a more distinct element of distance between the representing subject and represented object. Representation is always a form of augmentation: it extends our abilities to see the "other", otherwise invisible sides and qualities of the objects of reality. Representation is key to both science and art, yet in case of the latter, what is represented is not a (claimed) "objective" scheme of reality, but rather images of the imaginary, inner reality (even figurative painting always presents a particular optical and psychological perspective, to say nothing about forms of abstract art). There are certain kinds of art (visual arts, music, dance, etc.) that deal with different senses and thus, build their specific representational structures. Proprioception is one of the senses that occupies relatively marginal position in artistic production (which is exactly because of the specificity of its representational nature and because it does not create a sense of an external object. The term "proprioception" comes from Latin propius, or "one's own", "individual", and capio, cepi – "to receive", "to perceive". It implies a sense of one's self felt as a relational unity of parts of the body most vividly discovered in movement and in effort employed in it. The loss of proprioception usually means loss of bodily orientation and a feeling of one's body (Sacks 43-54). On the other hand, in case of additional stimulation and training of this sense (not only via classical cyber-devices, like cyber-helmets, gloves, etc. that set a different optics, but also techniques of different kinds of altered states of mind, e.g. through psychotropics, but also through architecture of virtual space and acoustics) a sense of disorientation that appears at first changes towards some analogue of reactions of enthusiasm, excitement discovery, and emotion of approaching new horizons. What changes is not only perception of external reality, but a sense of one's self: the self is felt as fluid, flexible, with penetrable borders. Proprioception implies initial co-existence of the inner and outer space on the basis of originary difference and individuality/specificity of the occupied position. Yet, because they are related, the "external" and "other" already feels as "one's own", and this is exactly what causes the sense of presence. Among the many possible connections that the body, in its sense of proprioception, is always already ready for, only a certain amount gets activated. The result of proprioception is a special kind of meta-stable internal image. This image may not coincide with the optical, auditory, or haptic image. According to Brian Massumi, proprioception translates the exertions and ease of the body's encounters with objects into a muscular memory of relationality. This is the cumulative memory of skill, habit, posture. At the same time as proprioception folds tactility in, it draws out the subject's reactions to the qualities of the objects it perceives through all five senses, bringing them into the motor realm of externalizable response. (59) This internal image is not mediated by anything, though it depends directly on the relations between the parts. It cannot be grasped because it is by definition fluid and dynamic. The position in one point is replaced here by a position-in-movement (point-in-movement). "Movement is not indexed by position. Rather, the position is born in movement, from the relation of movement towards itself" (Massumi 179). Philosopher of "extended mind" Andy Clark notes that we should distinguish between a real body schema (non-conscious configuration) and a body image (conscious construct) (Clark). It is the former that is important to understand, and yet is the most challenging. Due to its fluidity and self-referentiality, proprioception is not presentable to consciousness (the unstable internal image that it creates resides in consciousness but cannot be grasped and thus re-presented). A feeling/sense, it is not bound by sensible forms that would serve as means of objectification and externalization. As Barbara Montero observes, while the objects of vision and hearing, i.e. the most popular senses involved in the arts, are beyond one's body, sense of proprioception relates directly to the bodily sensation, it does not represent any external objects, but the sensory itself (231). These characteristics of proprioception help to reframe the question of augmentation as mediation: in the case of proprioception, the medium of sensation is the very relational structure of the body itself, irrespective of the "exteroceptive" (tactile) or "interoceptive" (visceral) dimensions of sensibility. The body is understood, then, as the "body without image,” and its proprioceptive effect can then be described as "the sensibility proper to the muscles and ligaments" (Massumi 58). Proprioception in (Media) Art One of the most convincing ways of externalization and (re)presentation of the data of proprioception is through re-production of its structure and its artificial enhancement with the help of technology. This can be achieved in at least two ways: by setting up situations and environments that emphasize self-perspective and awareness of perception, and by presenting measurements of bio-data and inviting into dialogue with them. The first strategy may be connected to disorientation and shifted perspective that are created in immersive virtual environments that make the role of otherwise un-trackable, fluid sense of proprioception actually felt and cognized. These effects are closely related to the nuances of perception of space, for instance, to spatial illusion. Practice of spatial illusion in the arts traces its history as far back as Roman frescos, trompe l’oeil, as well as phantasmagorias, like magic lantern. Geometrically, the system of the 360º image is still the most effective in producing a sense of full immersion—either in spaces from panoramas, Stereopticon, Cinéorama to CAVE (Computer Augmented Virtual Environments), or in devices for an individual spectator’s usage, like a stereoscope, Sensorama and more recent Head Mounted Displays (HMD). All these devices provide a sense of hermetic enclosure and bodily engagement with its scenes (realistic or often fantastical). Their images are frameless and thus immeasurable (lack of the sense of proportion provokes feeling of disorientation), image apparatus and the image itself converge here into an almost inseparable total unity: field of vision is filled, and the medium becomes invisible (Grau 198-202; 248-255). Yet, the constructed image is even more frameless and more peculiarly ‘mental’ in environments created on the basis of objectless or "immaterial" media, like light or sound; or in installations prioritizing haptic sensation and in responsive architectures, i.e. environments that transform physically in reaction to their inhabitants. The examples may include works by Olafur Eliasson that are centered around the issues of conscious perception and employ various optical and other apparata (mirrors, curved surfaces, coloured glass, water systems) to shift the habitual perspective and make one conscious of the subtle changes in the environment depending on one's position in space (there have been instances of spectators in Eliasson's installations falling down after trying to lean against an apparent wall that turned out to be a mere optical construct.). Figure 1: Olafur Eliasson, Take Your Time, 2008. © Olafur Eliasson Studio. In his classic H2OExpo project for Delta Expo in 1997, the Dutch architect Lars Spuybroek experimented with the perception of instability. There is no horizontal surface in the pavilion; floors, composed of interconnected elliptical volumes, transform into walls and walls into ceilings, promoting a sense of fluidity and making people respond by falling, leaning, tilting and "experiencing the vector of one’s own weight, and becoming sensitized to the effects of gravity" (Schwartzman 63). Along the way, specially installed sensors detect the behaviour of the ‘walker’ and send signals to the system to contribute further to the agenda of imbalance and confusion by changing light, image projection, and sound.Figure 2: Lars Spuybroek, H2OExpo, 1994-1997. © NOX/ Lars Spuybroek. Philip Beesley’s Hylozoic Ground (2010) is also a responsive environment filled by a dense organic network of delicate illuminated acrylic tendrils that can extend out to touch the visitor, triggering an uncanny mixture of delight and discomfort. The motif of pulsating movement was inspired by fluctuations in coral reefs and recreated via the system of precise sensors and microprocessors. This reference to an unfamiliar and unpredictable natural environment, which often makes us feel cautious and ultra-attentive, is a reminder of our innate ability of proprioception (a deeply ingrained survival instinct) and its potential for a more nuanced, intimate, emphatic and bodily rooted communication. Figure 3: Philip Beesley, Hylozoic Ground, 2010. © Philip Beesley Architect Inc. Works of this kind stimulate awareness of both the environment and one's own response to it. Inviting participants to actively engage with the space, they evoke reactions of self-reflexivity, i.e. the self becomes the object of its own exploration and (potentially) transformation. Another strategy of revealing the processes of the "body without image" is through representing various kinds of bio-data, bodily affective reactions to certain stimuli. Biosignal monitoring technologies most often employed include EEG (Electroencephalogram), EMG (Electromyogram), GSR (Galvanic Skin Response), ECG (Electrocardiogram), HRV (Heart Rate Variability) and others. Previously available only in medical settings and research labs, many types of sensors (bio and environmental) now become increasingly available (bio-enabled products ranging from cardio watches—an instance of the "quantified self" trend—to brain wave-controlled video games). As the representatives of the DIY makers community put it: "By monitoring some phenomena (biofeedback) you can train yourself to modulate them, possibly improving your emotional state. Biosensing lets you interact more naturally with digital systems, creating cyborg-like extensions of your body that overcome disabilities or provide new abilities. You can also share your bio-signals, if you choose, to participate in new forms of communication" (Montgomery). What is it about these technologies besides understanding more accurately the unconscious and invisible signals? The critical question in relation to biofeedback data is about the adequacy of the transference of the initial signal, about the "new" brought by the medium, as well as the ontological status of the resulting representation. These data are reflections of something real, yet themselves have a different weight, also providing the ground for all sorts of simulative methods and creation of mixed realities. External representations, unlike internal, are often attributed a prosthetic nature that is treated as extensions of existing skills. Besides serving their direct purpose (for instance, maps give detailed picture of a distant location), these extensions provide certain psychological effects, such as disorientation, displacement, a shift in a sense of self and enhancement of the sense of presence. Artistic experiments with bio-data started in the 1960s most famously with employing the method of sonification. Among the pioneers were the composers Alvin Lucier, Richard Teitelbaum, David Rosenblum, Erkki Kurenemi, Pierre Henry, and others. Today's versions of biophysical performance may include not only acoustic, but also visual interpretation, as well as subtle narrative scenarios. An example can be Marco Donnarumma's Hypo Chrysos, a piece that translates visceral strain in sound and moving images. The title refers to the type of a punishing trial in one of the circles of hell in Dante's Divine Comedy: the eternal task of carrying heavy rocks is imitated by the artist-performer, while the audience can feel the bodily tension enhanced by sound and imagery. The state of the inner body is, thus, amplified, or augmented. The sense of proprioception experienced by the performer is translated into media perceivable by others. In this externalized form it can also be shared, i.e. released into a space of inter-subjectivity, where it receives other, collective qualities and is not perceived negatively, in terms of pressure. Figure 4: Marco Donnarumma, Hypo Chrysos, 2011. © Marco Donnarumma. Another example can be an installation Telephone Rewired by the artist-neuroscientist Sean Montgomery. Brainwave signals are measured from each visitor upon the entrance to the installation site. These individual data then become part of the collective archive of the brainwaves of all the participants. In the second room, the viewer is engulfed by pulsing light and sound that mimic endogenous brain waveforms of the previous viewers. As in the experience of Donnarumma's performance, this process encourages tuning in to the inner state of the other and finding resonating states in one's own body. It becomes a tool for self-exploration, self-knowledge, and self-control, as well as for developing skills of collective being, of shared body-mind topologies. Synchronization of mental and bodily states of multiple people serves here a broader and deeper goal of training collaborative and empathic abilities. An immersive experience, it triggers deep embodied neural circuits, reaching towards the most authentic reactions not mediated by conscious procedures and judgment. Figure 5: Sean Montgomery, Telephone Rewired, 2013. © Sean Montgomery. Conclusion The potential of biofeedback as a strategy for art projects is a rich area that artists have only begun to explore. The layer of the imaginary and the fictional (which makes art special and different from, for instance, science) can add a critical dimension to understanding the processes of augmentation and mediation. As the described examples demonstrate, art is an investigative journey that can be engaging, surprising, and awakening towards the more subtle and acute forms of thinking and feeling. This astuteness and percipience are especially needed as media and technologies penetrate and affect our very abilities to apprehend reality. We need new tools to make independent and individual judgment. The sense of proprioception establishes a productive challenge not only for science, but also for the arts, inviting a search for new mechanisms of representing the un-presentable and making shareable and communicable what is, by definition, individual, fluid, and ungraspable. Collaborative cognition emerging from the augmentation of proprioception that is enabled by biofeedback technologies holds distinct promise for exploration of not only subjective, but also inter-subjective states and aesthetic strategies of inducing them. References Beesley, Philip. Hylozoic Ground. 2010. Venice Biennale, Venice. Clark, Andy, and David J. Chalmers. “The Extended Mind.” Analysis 58.1 (1998):7-19. Donnarumma, Marco. Hypo Chrysos: Action Art for Vexed Body and Biophysical Media. 2011. Xth Sense Biosensing Wearable Technology. MADATAC Festival, Madrid. Eliasson, Olafur. Take Your Time, 2008. P.S.1 Contemporary Art Centre; Museum of Modern Art, New York. Grau, Oliver. Virtual Art: From Illusion to Immersion. Cambridge, Mass.: MIT Press, 2003. Massumi, Brian. Parables of the Virtual: Movement, Affect, Sensation. Durham: Duke University Press, 2002. Montero, Barbara. "Proprioception as an Aesthetic Sense." Journal of Aesthetics and Art Criticism 64.2 (2006): 231-242. Montgomery, Sean, and Ira Laefsky. "Biosensing: Track Your Body's Signals and Brain Waves and Use Them to Control Things." Make 26. 1 Oct. 2013 ‹http://www.make-digital.com/make/vol26?pg=104#pg104›. Sacks, Oliver. "The Disembodied Lady". The Man Who Mistook His Wife for a Hat and Other Clinical Tales. Philippines: Summit Books, 1985. Schwartzman, Madeline, See Yourself Sensing. Redefining Human Perception. London: Black Dog Publishing, 2011. Spuybroek, Lars. Waterland. 1994-1997. H2O Expo, Zeeland, NL.

The phenomenological experience of art is one of embodied awareness. Now more than ever, as contemporary art becomes more interactive and immersive, our perceptions of embodiment are useful tools to gauge the efficacy of visual art as a stimulus for knowledge, new experience and expression. Art has a mimetic and interactive relationship with the world. As Schopenhauer said, “The world is my representation” (3). So which takes effect first: the lungful of excited breath or the synapses, is it the miasmic smell of dust on whirring video projectors or the emotion? When we see great art (in this instance, new media work), do we shudder, then see and understand it? Or do we see, tremble and, only then, know? “Art unleashes and intensifies...Art is of the animal” (Grosz, Chaos 62-3). Are our bodies reacting in response to the physical information at hand in the world? “Why do you like Amy?” I asked my six year old son, who was in love at the time. “I like her face,” he said. Was this a crude description of infantile love or an intuitive understanding of how all kinds of passion begin with the surface of the face? Peter Sloterdijk writes about the immersion and mimicry, the life and death mutualism of faces, of gazing on another’s face. He says, “Both of these, self-knowledge as well as self-completion, are operations in a sphere of illusory bipolarity that, like an ellipse, only formally possess two focal points” (205). It seems to me that this desire for the love, beauty and knowledge of another is mutual; a reciprocal narrative thrust, the same existential motivation. Elizabeth Grosz writes about the first emotions of the newborn child and the immediate expressiveness of the face, with those of the parents. She refers to Alphonso Lingis to develop this connection between emotion and bodily expression as: “the pleasure and pains the body comes to articulate: human infants laugh and weep before they can speak.” (Grosz, Chaos 51) To be acknowledged, to see a reflection of one’s own face in that of another’s face as an expression of love, is a craving common to all humans.Art, like new love, has the ability to set our hearts aflutter, lips aquiver, our palms turned upwards in awe, our eyes widened in surprise. “The reverie of love defies all attempts to record it” (Stendhal 63). We are physically drawn to great works, to their immediacy, to their sudden emerging determination and tangibility (Menke). Our perceptions are entangled, our attitudes are affected, our imaginations are piqued and our knowledge and memory are probed.So what happens next? Once our hearts are pounding and our legs are wobbling, then what? As our unconscious experience becomes conscious (as the result of our brain letting our body know and then identifying and analysing the data), we start to draw associations and allow the mind and the body to engage with the world. The significance of what we see, an art object worthy of love for instance, is interpreted or distinguished by our memory and our personal accumulation of information over our lives. When we are away from the object, we perceive the art work to be dispassionate, inanimate and impassive. Yet standing before the object, our perception shifts and we consider the art work to be alive and dynamic. I believe the ability to ‘fall’ for an art work reflects the viewer’s heart-breaking longing to ensnare the beauty (or ugliness) that has so captured his or her soul. Like the doppelganger who doesn’t recognise its own double, its own shadow, the viewer falls in love (Poe 1365). This perverse perception of love (perverse because we usually associate love as existing between humans) is real. Philosopher Paul Crowther writes about the phenomenology of visual art. Where I am talking about a romantic longing, a love of the love itself, the face falling for the face, the body falling for the body, bodily, Crowther breaks down the physical patterns of perceiving art. Though he does not deny the corporeal reality of the experience, he talks of the body operations discriminating at the level of perception, drawing on memories and future expectations and desire (Crowther, Phenomenology 62). Crowther says, “Through the painting, the virtual and the physical, the world and the body, are shown to inhabit one another simultaneously and inseparably” (Phenomenology 75). I am not sure that these experiences occur simultaneously or even in tandem. While we perceive the experience as full and complex and potentially revelatory, one element more likely informs the next and so on, but in a nanosecond of time. The bodily senses warn the heart which warns the mind. The mind activates the memories and experiences before alerting us to the world and the context and finally, the aesthetic judgement.Crowther’s perception of transcendence operates when reality is suspended in the mode of possibility. This informs my view that love of art functions as an impossibility of desire’s end, gratification must be pushed back every time. What of Crowther’s corporeal imagination? This is curious: how can we imagine with our bodies (as opposed to our mind and spirit)? This idea is virtual, in time and space outside those we are used to. This is an imagination that engages instantly, in a self-conscious way. Crowther refers to the virtually immobilised subject matter and the stationary observer and calls it a “suspension of tense” (Phenomenology 69). However I am interested in the movement of the spectator around the art work or in synchronicity with the artwork too. This continues the face to face, body to body, encounter of art.Crowther also writes of phenomenological depth as a condition of embodiment which is of significance to judgement; phenomenological depth is “shown through ways in which the creation of visual artworks embodies complex relations between the human subject and its objects of perception, knowledge, and action” (Phenomenology 9). Although Crowther is leaning on the making of the artwork more heavily than the viewers’ perception of it in this account, it relates well to the Australian artists and twins Silvana and Gabriella Mangano, whose action performances, presented in three-screened, large-scale video were represented in the 2012 Sydney Biennale. The Mangano twins collaborate on video performance works which focus on their embodied interpretations of the act of drawing. In the Mangano sisters’ 2001 Drawing 1, the twins stand beside a wall of paper, facing each other. While maintaining eye contact, they draw the same image on the wall, without seeing what mark they are making or what mark the other is making. This intuitive, physical, corporeal manifestation of their close connection becomes articulated on paper. Its uncanny nature, the shared creativity and the performative act of collaborative drawing is riveting. The spectator is both excluded and incorporated in this work. Such intimacy between siblings is exclusive and yet the participation of the spectator is necessary, as witnesses to this inexplicable ability to know where the other’s drawing will move next. The sisters are face to face but the spectator and the artwork also function in a face to face encounter; the rhythmic fluidity of movement on the video screen surface is the face of the artwork.When experiencing the Mangano works, we become aware of our own subjective physical experiences. Also, we are aware of the artists’ consciousness of their heightened physical relations with each other, while making the work. I am writing in an era of digital video and performance art, where sound, movement, space and shifts of temporality must be added to more traditional formalist criteria such as form, surface, line and colour. As such, our criteria for judgement of this new surge of highly technical (though often intuitively derived) work and the immersive, sometimes interactive, experiences of the audience have to change at the same pace. One of the best methods of aesthetic critique to use is the concept of embodiment, the perceptual forces at work when we are conscious of the experience of art. As I sit at my desk, I am vaguely aware of my fingers rattling across the keyboard and of my legs crossed beneath me. I am conscious of their function, as an occupied space within which my consciousness resides. “I know where each of my limbs is through a body image in which all are included. But the notion of body image is ambiguous,” (102) says Merleau-Ponty, and this is a “Continual translation into visual language of the kinaesthetic and articular impressions of the moment” (102). Mark Johnson reiterates this dilemma: “We are aware of what we see, but not of our seeing.” (5) This doesn’t only relate to the movement of the Mangano twins’ muscles, postures and joint positions in their videos. It also relates to the spectator’s posture and straining, our recoiling and absorption. If I lurch forward (Lingis 174) to see the video image of the twins as they walk across a plain in El Bruc, Spain, using Thonet wooden chairs as stilts in their 2009 work The Surround, and if my eyes widen, if my hands unclench and open, and if I touch my cheek in wonder, then, is this embodied reaction a legitimate normative response? Is this perception of the work, as a beautiful and desirable experience, an admissible form of judgement? If I feel moved, if my heart races, my skin prickles, does that mean the effect is as important as other technical, conceptual or formalist categories of success? Does this feeling refer to the possibility of new intelligence? An active body in a bodily space (Merleau-Ponty 104) as opposed to external space can be perceived because of darkness needed for the ‘theatre’ of the performance. Darkness is often the cue for audiences that there is performative information at work. In the Manganos’ videos in Spain (they completed several videos during a residency in El Bruc Spain), the darkness was the isolated and alienating landscape of a remote plain. In their 2010 work Neon, which was inspired by Atsuko Tanaka’s 1957 Electric Dress, the movement and flourish of coloured neon paper was filmed against a darkened background, which is the kind of theatre space Merleau-Ponty describes: the performative cue. In Neon the checkered and brightly coloured paper appeared waxy as the sisters moved it around their half-hidden bodies, as though blown by an imaginary wind. This is an example of how the black or darkened setting works as a stimulant for understanding the importance of the body at work within the dramatic space. This also escalates the performative nature of the experience, which in turn informs the spectator’s active reaction. Merleau-Ponty says, “the laying down of the first co-ordinates, the anchoring of the active body in an object, the situation of the body in the face of its tasks. Bodily space can be distinguished from external space and envelop its parts instead of spreading them out” (115) The viewer, however, is not disembodied, despite the occasional sensation of hallucination in the face of an artwork. The body is present, it is in, near, around and sometimes below the stimulus. Many art experiences are immersive, such as Mexican, Rafael Lorenzo Hemmer, and Dane, Olafur Eliasson, whose installations explore time, light and sound and require audience participation. The participant’s interaction causes an effect upon the artwork. We are more conscious of ourselves in these museum environments: we move slowly, we revolve and pause, with hands on hip, head cocked to the side. We smile, frown, sense, squint, laugh, listen and touch. Traditional art (such as painting) may not invite such extremes of sensory multiplicity, such extremes of mimicking movement and intimate immersion. “The fact that the self exists in such an horizon of past and possible experiences means that it can never know itself sufficiently as just this immediately given physical body. It inhabits that body in the sense of being able, as it were, to wander introspectively through memory and imagination to places, times and situations other than those of its present embodiment” (Crowther, Phenomenology 178). Crowther’s point is important in application to the discussion of embodiment as a normative criteria of aesthetic judgement. It is not just our embodied experience that we bring to the magistrate’s court room, for judgement, but our memory and knowledge and the context or environment of both our experience and the experience that is enacted in relation to the art work. So an argument for embodiment as a criteria for normative judgements would not function alone, but as an adjunct, an add-on, an addition to the list of already applied criteria. This approach of open honesty and sincerity to art is similar to the hopefulness of new love. This is not the sexualised perception, the tensions of eroticism, which Alphonso Lingis speaks of in his Beauty and Lust essay. I am not talking about how “the pattern of holes and orifices we sense in the other pulls at the layout of lips, fingers, breasts, thighs and genitals” nor “the violent emotions that sense the obscenity in anguish” (175-76), I am instead referring to a G-rated sense of attachment, a more romantic attitude of compassion, desire, empathy and affection. Those movements made by the Mangano twins in their videos, in slow motion, sometimes in reverse, in black and white, the actions and postures that flow and dance, peak and drop, swirl and fall: the play of beauty within space, remind me of other languorous mimetic accents taken from nature. I recall the rhythms of poetry I have read, the repetitions of rituals and patterns of behaviour in nature I have witnessed. This knowledge, experience, memory and awareness all contribute to the map of love which is directing me to different points in the performance. These contributors to my embodied experience are creating a new whole and also a new format for judgement. Elizabeth Grosz talks about body maps when she says, “the body is thus also a site of resistance...for it is capable of being self-marked, self-represented in alternative ways” (Inscriptions and Body Maps 64). I’m interested less in the marking and more in the idea of the power of bodily participation. This is power in terms of the personal and the social as transformative qualities. “Art reminds us of states of animal vigour,” Nietsche says (Grosz, Chaos 63). Elizabeth Grosz continues this idea by saying that sensations are composites (75) and that art is connected to sexual energies and impulses, to a common impulse for more (63). However I think there is a mistake in attributing sexuality, as prescribed by Lingis and Grosz, despite my awe and admiration for them both, to the impulses of art. They might seem or appear to be erotic or sexual urges but are they not something a little more fleeting, more abstract, more insouciant? These are the desires at close hand but it is what those desires really represent that count. Philosopher John Armstrong refers to a Vuillard painting in the Courtauld Institute: “This beautiful image reminds us that sexuality isn’t just about sex; it conveys a sense of trust and comfort which are connected to tender touch” (Armstrong 135). In other words, if we assume there is a transference of Freudian sexual intensity or libido to the art work, perhaps it is not the act of sex we crave but a more elaborate desire, a desire for old-fashioned love, respect and honour.Sue Best refers to the word communion to describe the rapturous transport of being close to the artwork but always kept at a certain distance (512). This relates to the condition of love, of desiring an object but never attaining it. This is arrested pleasure, otherwise known as torture. But the word communion also gives rise, for me, to an idea of religious communion, of drinking the wine and bread as metaphor for Christ’s blood and body. This concept of embodied virtue or pious love, of becoming one with the Lord has repetitions or parallels with the experience of art. The urge to consume, intermingle or become physically entangled with the object of our desire is more than a philosophical urge but a spiritual urge. It seems to me that embodiment is not just the physical realities and percepts of experience but that they stand, mnemonically and mimetically, for more abstract urges and desires, hopes and ambitions, outside the realm of the gallery space, the video space or the bodily space. Crowther says, “Art answers this psychological/ontological need. ...through the complex and ubiquitous ways in which it engages the imagination” (Defining Art 238). While our embodied or perceptual experiences might seem slight or of less importance at first, they gather weight when added to knowledge and desire. Bergson said, “But there is, in this necessary poverty of our conscious perception, something that is positive, that foretells spirit: it is in the etymological sense of the word, discernment” (31). This art love is an aspiration for more, for hopes and expectation that the art work I fall for will enlighten me, will enrich my experience. This art work reminds me of all the qualities and principles I crave, but know in my heart are just beyond my fingertips. Perhaps we can consider the acknowledgement of art love as, not only a means of discernment but also as a legitimate purpose, that is, to be bodily, emotionally and intellectually changed and to gain further knowledge.ReferencesArmstrong, John. Conditions of Love. London: Penguin, 2002.Bergson, Henri. Matter and Memory. New York: Dover Philosophical Classics, 2004.Best, Sue. “Rethinking Visual Pleasure: Aesthetics and Affect.” Theory and Psychology 17 (2007): 4.Crowther, Paul. The Phenomenology of Visual Art. Stanford: Stanford University Press, 2009.---. Defining Art: Creating the Canon. Oxford: Clarendon Press, 2007.Menke, Christoph, Daniel Birnbaum, Isabell Graw and Daniel Loick. The Power of Judgement: A Debate on Aesthetic Critique. Berlin: Sternberg Press, 2010.Grosz, Elizabeth. Chaos, Territory, Art: Deleuze and the Framing of the Earth. New York: Columbia University Press, 2008.---. “Inscriptions and Body-Maps: Representations and the Corporeal.” Feminine/Masculine and Representation. Eds. Terry Threadgold and Anne Granny-France. Sydney: Allen and Unwin, 1990. 62-74. Johnson, Mark. The Meaning of the Body. Chicago: University of Chicago Press, 2007.Lingis, Alphonso. “Beauty and Lust.” Journal of Phenomenological Pyschology 27 (1996): 174-192.Merleau-Ponty, Maurice. Phenomenology of Perception. New York: Routledge Classics, 2002.Poe, Edgar Allen. “William Wilson: A Tale.” The Norton Anthology of American Literature. New York: Nortin, 1985.Schopenhauer, Arthur. The World as Will and Representation. New York: Dover, 1969.Sloterdijk, Peter. Bubbles, Spheres 1. Los Angeles: Semiotext(e), 2011.Stendhal. Love. London: Penguin, 2004.