The Neurocognitive Process of Digital Radicalization: A Theoretical Model and Analytical Framework

Recent studies suggest that empathy induced by narrative messages can effectively facilitate persuasion and reduce psychological reactance. Although limited, emerging research on the etiology of radical political behavior has begun to explore the role of narratives in shaping an individual’s beliefs, attitudes, and intentions that culminate in radicalization. The existing studies focus exclusively on the influence of narrative persuasion on an individual, but they overlook the necessity of empathy and that in the absence of empathy, persuasion is not salient. We argue that terrorist organizations are strategic in cultivating empathetic-persuasive messages using audiovisual materials, and disseminating their message within the digital medium. Therefore, in this paper we propose a theoretical model and analytical framework capable of helping us better understand the neurocognitive process of digital radicalization

Theories of the development of human communication

This article considers evidence for innate motives for sharing rituals and symbols from animal semiotics, developmental neurobiology, physiology of prospective motor control, affective neuroscience and infant communication. Mastery of speech and language depends on polyrhythmic movements in narrative activities of many forms. Infants display intentional activity with feeling and sensitivity for the contingent reactions of other persons. Talk shares many of its generative powers with music and the other ‘imitative arts’. Its special adaptations concern the capacity to produce and learn an endless range of sounds to label discrete learned understandings, topics and projects of intended movement

Seeing the smart city on Twitter: Colour and the affective territories of becoming smart

This paper pays attention to the immense and febrile field of digital image files which picture the smart city as they circulate on the social media platform Twitter. The paper considers tweeted images as an affective field in which flow and colour are especially generative. This luminescent field is territorialised into different, emergent forms of becoming ‘smart’. The paper identifies these territorialisations in two ways: firstly, by using the data visualisation software ImagePlot to create a visualisation of 9030 tweeted images related to smart cities; and secondly, by responding to the affective pushes of the image files thus visualised. It identifies two colours and three ways of affectively becoming smart: participating in smart, learning about smart, and anticipating smart, which are enacted with different distributions of mostly orange and blue images. The paper thus argues that debates about the power relations embedded in the smart city should consider the particular affective enactment of being smart that happens via social media. More generally, the paper concludes that geographers must pay more attention to the diverse and productive vitalities of social media platforms in urban life and that this will require experiment with methods that are responsive to specific digital qualities

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

Bodies and everyday practices in designed urban environments

In recent years, the centres of many towns and cities have been reshaped by urban design projects, but little attention has been paid to how these transformations are experienced everyday by users of the city. In other words: how do the users of urban centers, such as shoppers, cleaners, or workers, perceive these changes, as embodied subjects in specific material environments? This paper analyses how bodies in two intensely designed urban spaces – the shopping centre of Milton Keynes, a 1960s new town, and Bedford's recently redeveloped historic town centre – are affected by elements of the built environment. 'Affected' is a term borrowed from Latour (2004), and the paper works with, and elaborates, some of his and others' work on how bodies are effectuated by other entities. Such Latourian work pays a great deal of attention to how bodies are affected by both human and non-human entities of many kinds, and we examine how certain aspects of the built environment in these two towns affects bodies in specific ways. However, we also emphasise the variability in this process, in particular that bodies seem unaware – or ambivalently aware – of many entities' affordances

(Dis)enchantments and perambulations: 'walking-with' intangible cultural heritage, coerced walking and reluctant heritage

This submission presents findings and makings drawn from an emergent hybrid participatory walking and multi-media arts practice, contextualised within and around specific heritage narratives. The thesis features two walking arts case studies: "Honouring Esther" (2015-17), a project based on walking the route of a Nazi Death March, and "Sweet Waters" (2017), a cycle of walks exploring the legacies of slaveownership in Bath. In both case studies, registers of walking are juxtaposed in a creative exploration motivated by a social justice desire to realise agency in heritage as process. Honouring Esther represents an early iteration of walking-with exploring dissonant interventions to stimulate empathic dialogues. "Sweet Waters" develops a further iteration of the approach as a critical creative unsettling of an authorised heritage narrative. In the Humanities, an interest in affect, sensation and the corporeal, described broadly as the ‘affective’ turn, has unfolded a space valuing contributions from artistic practice. This Creative Practice as Research undertaken in that intradisciplinary space contributes to the ‘creative’ turn thus afforded; this is a walking arts engagement with the practices of heritage. The submission brings together activist concerns underpinned by a focus on the walking itself. Through developing an understanding of the somatic, embracing an alertness to the more-than-representational, a co-creative walking and multi-media approach has emerged. Attending to matter and the power of things, drawing on embodied experience and curated content, a critically questioning and retelling of heritage narratives begins. Grounded in the body and bodies in motion, walking and questioning, new knowledge and understandings are produced as part of an intangible cultural heritage process. Walkers become critical story carriers. The submission presents iterations of 'walking-with' as an emergent walking arts practice exploring particular heritage contexts. In these contexts 'walking-with' generates empathic dialogues and builds solidarity in attending to difficult, reluctant, heritages. In addition to indicating new directions for this creative practice and observations of possible interest to research in related fields, I propose 'walking-with' as a non-confrontational approach of potential value for working creatively with other dissonant and complex heritage narratives

The narrative self, distributed memory, and evocative objects

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct

Emotional Biosensing: Exploring Critical Alternatives

Emotional biosensing is rising in daily life: Data and categories claim to know how people feel and suggest what they should do about it, while CSCW explores new biosensing possibilities. Prevalent approaches to emotional biosensing are too limited, focusing on the individual, optimization, and normative categorization. Conceptual shifts can help explore alternatives: toward materiality, from representation toward performativity, inter-action to intra-action, shifting biopolitics, and shifting affect/desire. We contribute (1) synthesizing wide-ranging conceptual lenses, providing analysis connecting them to emotional biosensing design, (2) analyzing selected design exemplars to apply these lenses to design research, and (3) offering our own recommendations for designers and design researchers. In particular we suggest humility in knowledge claims with emotional biosensing, prioritizing care and affirmation over self- improvement, and exploring alternative desires. We call for critically questioning and generatively re- imagining the role of data in configuring sensing, feeling, ‘the good life,’ and everyday experience