Consciousness, Literature and the Arts
Volume 4 Number 1, April 2003
_______________________________________________________________
By
Olga
S. Fomichova and Nadezhda V. Sidorova
The subject of the paper is showing how it is possible to teach children to recognize the so-called transition moments despite of the fact that systematic child – computer interaction tends to diminish this ability. In every professional activity associated with people and/or the nature (medicine, agriculture, ecology, business, politics, etc.), the earlier the tendency of the situation is recognized, the better is the taken decision. A new method of becoming aware of ongoing processes that is very important for adapting to changing circumstances is presented. This method stimulates the development of the child’s emotional sphere as well. The authors believe that it is very important to develop in children the ability to recognize the transition moments (that is to recognize the development of the situation proved by change of the details) both in dynamic processes and in stationary visual images of dynamic situations - pictures, photographs, etc.
.
Introduction
The development of the information society initiates numerous problems. One group of such problems has emerged due to acquainting young children with computers. On one hand, a number of computer programs have been elaborated with the aim to stimulate the learning initiative of children. The computer program ADDIZIONARIO can serve as a good example of such programs; it is a multimedia software tool for primary school children, originally designed for making easier and amusing the study of the Italian language (Turrini, Cignoni, Paccosi, 2001).
On the other hand, there are the observations showing that too early, too intense interaction of children with computers has serious negative consequences, including the hampering of the development of creativity and emotional sphere, weakening the love to the nature, restraining the humanitarian development of the child (Fomichova and Fomichov, 2000; Fomichov and Fomichova, 2001; Fomichova, 2001, 2002).
B. Sellers-Young quoted Antonio Damasio and Stanislavski saying that we are in constant state of adapting to changing circumstances (Sellers-Young, 2002). Information society is characterized by the swiftness of information processes and the changes in perception of the world. We consider the transition moments in the ongoing processes on the example of ongoing changes in nature reflected in the works of art in order to elaborate a method of becoming aware of these changes.
The
purpose of this paper is to show how it is possible to teach children to
recognize the transition moments despite of the fact that systematic child –
computer interaction tends to diminish this ability.
One of the leading theoreticians in astronautics, Academician Boris Rauschenbach stressed that “in the process of solving the tasks having an explicitly expressed mathematical character, in other words, the logical tasks, very often the decisive role can be played by the non-logical component of consciousness, that is formed during biological evolution the ability of the consciousness to unconsciously harmonize the chaotic flood of impressions. In such situations, the criterion called some times the feeling of beauty is very important (Rauschenbach, 1996, p. 87).
The flood of impressions may be less or more vivid with more or less bright details. In the social activity of the person, the ability of processing the impressions from the dynamic processes (characterized by the change in time of various parameters) influences the estimation of a situation and the appropriateness of taken decisions. In every professional activity tied with people and/or the nature (medicine, ecology, business, politics, etc.), the earlier the tendency of the situation is recognized, the better is the taken decision.
The underdeveloped symbolic information processing abilities cause the problems in the perception of symbolic languages of painting, sculpture, architecture, music, mathematics. It applies also to the perception of the culture as a whole, because, taking into account Geertz’s classic definition of culture as “a historically transmitted pattern of meanings embodied in symbols” (Geertz, 1973, p. 89), we may suppose that the simplicity of perception prevents children from decoding these symbols. They easily get tired, listening to a partner of communication or reading some description. They need an algorithm of action, of solving a task, of the behaviour of verbal interaction, etc.
That is why it is very important to develop in children the ability to recognize the so-called transition moments, that is the development of the situation proved by change of details, both in dynamic processes and in stationary visual images of dynamic situations – works of art, photographs, etc.; it helps to see the links between different entities or processes.
The recognition of the transition moments presupposes a more subtle sensitive ability than the recognition of stationary situations. Verbal representations of stationary situations, most often, don’t need the metaphors, because the natural language possesses a lot of words and fixed word combinations for denoting stationary situations.
Meanwhile, people often use metaphors for expressing their impressions from transition moments, because it is very difficult or impossible to find the exact words. Hence if children are not used to recognize the transition moments, they loose the training situations for improving the metaphoric thinking. It diminishes the ability of children to decode symbolic information.
The expressed ideas are proved by professional observations. Several years ago 8-9-year-old children from the experimental groups were asked about their impressions about summer holidays. They used to tell us a great number of details, such as the colour of the water, depending on the time of the day, description of the berries found in the forest, details of some summer story they were impressed by, etc. All these details prove the existence of discrete representation of the events and entities in the consciousness of the child.
Nowadays children got used to the swiftness of the computer operations, computer games, and, unfortunately, the majority of them stop identifying “a minute” in the course of events or actions. When they are asked about their summer holidays, they enumerate the events or actions very briefly. Practically, if the event is mentioned, it means the fact that we came across a so-called “zero estimation”. It is clear that the child was impressed by it, but to guess the connotation of the event isn’t so easy.
The lack of the details in their relation proves the fact of perceiving the world and every-day life as a kind of the structure in which they observe some objects or entities linked with each other. They experience less emotions evoked by the nature, because the children don’t just notice the beauty or feel fragrance, chirp of the birds, or splashing of the sea. They just use water to wash and fresh air to keep fit.
The bounds of the cultural grounding of behaviour are getting less strict, because the behaviour is motivated and restricted by the algorithm of person - computer interaction, that is by computer culture.
The next experiment rests on the assumption that the possibility of getting information that causes interest and surprise and, as consequence, makes children click on to get another piece of information doesn’t always mean the processing of the received information. That is, it is not obvious that children, revealing interest and even surprise while receiving information, perceive, process new pieces of information and implant them into their conceptual pictures of the world in order to use it in the future in any way.
At the age of 8 – 9, children were shown 16 impressive photographs of the transition moments, such as flaming light of dawn, hoary green fir-trees, outburst lilac clusters with rolling drops of water after thunderstorm, twilight when the garden is enfolded in evening blue light and the day is melting into night, the early spring when swift waters rush down every hill and the shadows are blue on the melting snow. Children were impressed by the beauty of the photographs, they were impatient to see another photographs.
In a year, when children had the same topic for discussion called “a fleeting moment”, they found their own examples but didn’t mention any of those photos. It means that children didn’t inscribe their emotional experience in their conceptual picture of the world, they either didn’t find the right words to define their emotions or were not deeply touched, just impressed.
At the same time the same group of children at the age of 8 – 9 visited the State Tret’yakov Art Gallery (in Moscow). We were discussing the same subject: “Landscape - a fleeting moment”. Let us consider the idea of a fleeting moment expressed by means of painting.
We supposed that landscape studying is needed for acquisition of visual images as an assistant in teaching children, who perceived the impetuous world of computer technologies since their childhood, to describe by means of the words the state of the nature, the season, and the time of the day (in English, German, and Russian).
Realizing that perceiving the picture and having a look at it are active and passive ways of interaction with the works of art, we took the method of landscape perusal which was suggested by Leonardo da Vinci; he said that vision is one of the fastest actions in human nature. “Let’s suppose a case that you, the reader, take a look at this full of notes page and you immediately express the judgment that it is full of different letters, but you can’t understand in this short time neither the concrete letters nor what they want to say to you; therefore you need to follow it word by word and line by line if you want to get knowledge about these letters.” (Leonardo da Vinci, 1935).
In medieval painting, the elements of image were treated as science, and an image was organized as special “text”, where the color constancy represented the entity’s properties and the color changeability represented the event’s properties. In Renaissance, the picture space included all the genres, the whole world with the human being in the centre. The process of genres formation is the process of division of entire renaissance picture space into separate independent worlds. “The art learned a man before it concerned with landscape; Madonna was at foreground, <…>, and as one adorns beautiful woman with jewels, painters adorned her by fragments of the nature, which they couldn’t accept in its integrity.” (Rilke, 1971, p. 57). In this way the poet wrote about the prehistory of landscape.
In the XVIII century, the spiritual basis of passion with landscape was the prevalence in Europe of laying out of nature English parks and new-fashioned religious worship of nature. Intentionally simplified landscape of the XIX century requires deep feeling and sense of moment rather than intellectual researches. We considered this emotional work as the most important for children.
In landscape theme we were attracted by the painters of XIX-XX centuries boundary, the period of comprehension of the landscape space depth and perception of it temporal properties: I.Levitan, K.Juon, S.Zhukovsky, M.Vrubel. First, we were interested in children’s feeling, their desire to apprehend pictures in planned order and context, to acquire knowledge, and to create their own opinion. We supposed that the most valuable thing was the opinion of each child at any stage of discussion, because we were interested in the evoked feelings (including surprise and admiration) leading to their creative initiative. The perception of picture becomes actual when it is performed as intelligent action in the form of dialogue. We tried to initiate the discussion on suggested theme
and provide enough information for it..
The grown-up, who has an experience and possesses knowledge, looks at the picture and waits for the moment of “a kind of appeal” on the part of the picture. After some pause, the work of art conveying a message from previous generations stimulates intellectual effort of a person and makes it possible to decode a message. But the child is to ask the picture and to receive an answer, he is to put a right question. It is necessary for the child to have an adult near him who will lead him through all the stages of exciting perception of the work of art.
From the initial phase being the individual impression (which includes the picture’s energy, all surrounding things – morning sun light, bright children’s clothes, joy evoked by the day-off, or the winter gloaming and remote shuffling foot-steps in empty museum halls), the child is to go to perusing the picture. Emotional recognition leads to the understanding of the picture as a whole, which includes the subject, composition, and colour, i.e. the whole picture space. Only after this phase the penetration into the heart of hearts of the work of art begins, into the world where the whole consists of complex relations of individual details. These subtle combinations are changed each time depending on our mood, and picture world becomes alive and elusive.
To better understand and perceive this world, we asked the children to compare the pictures of several Russian landscape painters. We choose the landscapes of Russian middle belt, the spring time being concordant with the moment. As the key to the pictures, the subject “State and Mood” was proposed.
The picture “The March Sun” by K.Juon was painted in the open air “on the single
<FIGURE
1: “The March Sun”, 1915,
by K.Juon >
breath”, by which, apparently, the painter warmed up his colors and hands that frosty morning. The picture imprinted the sunny spring morning of northern country in bright gold-rosy and blue festive combinations of colors. The feeling of the main theme of pre-spring landscape is based on these colors. Colorful decorativeness and emotionality of the picture not exclude it’s space depth, which is emphasized by singularity of colouristic nature perception. Harmonious architectonics of landscape is held by rhythm where trunks and brunches of trees are accordant to rhythm of rustic horse legs, which go down on hillside, and they are specially united by color. The coloring of the picture is so sonorous that the first look without scan of details gives the joy of recognition and the key to picture perusal. The word “mood” in this case can be treated as a lofty tune where the color as a tuning fork determines a high-pitched note of feeling. It is not casual that children, while comparing this picture with “March”
<FIGURE
2: “March”, 1895, by
I.Levitan >
by I.Levitan, insisted on clearly hearing sonorous barking in spring air.
Together with bright emotionality K.Juon has a psychological content. I.Levitan belongs to another school founded by A.Savrasov, which mostly appreciated internal restraint and subtle lyricism of simplest landscape motives. They strived for explanation of landscape mood by pictorial tone which is constructed on subtlest color transitions and relations. In this approach the word “mood” can be treated as a superposition of subtlest traits, nuances, aggregate of pictorial methods, which can bring in a spectator to the state of self-absorbed calm.
The picture “March” by I.Levitan is almost devoid of actions, that led children to simple common recognition of landscape: the spring, morning, a horse is standing, it is warm/cold. But as soon as we lifted the imaginary transparent curtain embroided with thin trunks of birches gleaming white in sunshine and beautiful aspens, children led their way through warm court yard, passing by yellow sunny boards to the inmost heart of the picture following chain of deep footsteps in melting snow and further on to dark blue and violet shadows of cold and still winter wood. Children became aware of landscape’s associative versatility, noted the drowsy state of nature and compared it with horse busking in sunlight. But the momentary changeable spring noticed by children was revealed in unusually highly elevated starling-house, which is swinging on the thin branch. They saw how the state of serenity is vanishing on thin branches of birches and is ascending to the rippled spring sky.
To complicate the task, we went to the picture “Spring. Large Water” by I.Levitan,
<FIGURE
3: “Spring.
Large Water”, 1897, by I.Levitan
>
where the landscape motive is not a subject of representation, but a means of realization of image, mood and state. It is an unassuming nook of Tver land where the nature being fascinated and bewitched stared into itself, and where the blue depth of the sky is sewed down to its own reflection in the water by white stitches of birches.
But the idea of absolutely out-of-body indifferent nature with its transcedence is hardly comprehended by the new generation of urban children and difficultly transformed into their intellectual and emotional experience. First, the child sees in landscape the unusual to him work with unevident result.
Children perceived subtle lyricism of landscape and expressed it in poetry which spontaneously appeared in their memory. The simple landscape with full absence of action and persons didn’t turn into emotional experience of children and was redirected. It evoked in their consciousness the reflected and formulated emotional experience of grown-ups which was expressed in poetic lines. For example, children quoted the following lines by Boris Pasternak, a Russian poet, Nobel laureat:
Only look, and you will see it:
From the rooftops to the ground
Moscow all day long like Kitezh
Lies, in light-blue water drowned.
But they identified exactly the season, the time of day, and the state of the nature. However, they noted with astonishment that it was impossible to extend the landscape to the right or to the left. It is taken from the nature and lyrically remade by the author. It is already the landscape + Levitan. The landscape by I.Levitan is elevated by the author to a synthetic image.
Encouraged by the revealed emotions evoked by this complicated work of art, we went to the next picture of this painter “Evening on the Field” and presented it as an enigma.
<FIGURE
4: “Evening on the Field”, 1883, by I.Levitan>
The picture is divided into two parts: the light sky stripe and black-brown stripe of fallow field. On inclined boundary as a dark silhouette against a background of orange-rosy clouds, a figure of ploughman with a horse is painted. Children didn’t know the title of the picture, and we asked them to define the season and the time of day. We asked them not only to define but also prove their viewpoint. Children had to research all the sky reflexes and the coloring of the clouds, to dispute about cold morning or warm evening tones. They had to see in dark green wedge of twilight expanses a church which flashed (in what rays?). In such a state of a transition moment many details were discovered and they as a puzzle were put together into different pictures unless the dominants were discovered which assembled the picture in author’s conception. The picture is built up on large integrated masses of sky and land. Clouds and the sky are painted in details, the color of the land is found, and landscape straight away becomes visible by the single look and then step-by-step opens it details – a small church in the centre of the picture is painted delicately and helps children to denote the season.
To continue the theme when the dominant colour assembles and vivifies the picture, we discussed the picture “The Joyful May” by S.Zhukovsky.
<FIGURE
5: “The Joyful May”, 1912, by S.Zhukovsky >
The subject of this picture is not a classical landscape. It conveys the intimate world of the noble Russian estate at the end of the ninetieth - twentieth centuries boundary, where the nature and the interior interpenetrate, and “the window is the care of the painter about permeable places of the space boundaries” (Daniel, 1990, p. 65). Zhukovsky’s window is not only a conductor of live natural light, but it is a frame for embedded landscape. It was interesting for us how the painter emphasized by colour and formed in images the difference of the world of landscape park beyond the window and home world, which is inspired by human presence.
Guided by personal reminiscences children easily imagined sunny and damp coolness of country-house closed all the past winter. In a moment, they easily imagined themselves in the park and shared their own stories and impressions about “the joyful May”, about the first spring flowers and about the remote places in the park where there was still snow.
But the joy, they thought, was not in the park and not in the simple but representative interior of the estate. Children found the feeling of joy and spring in a small nosegay of violets on the window-sill – on the boundary of two worlds, which united these worlds. Flowers are painted by rich forming dabs. It was astonishing and very interesting for children: flowers belonged to outdoor world of nature but more than interior things they said about human presence in this picture. Children appeared to reveal the subtle understanding through nosegay of flowers of the link between the inner world and the world of nature. This guess made it possible to continue our investigation and to show another picture. It was the encoded and polysemantic picture “Lilac” by M.Vrubel.
<FIGURE
6: “Lilac”, 1990, s by M.Vrubel>
“Lilac” as well as “The Joyful May” by S.Zhukovsky is not a classic landscape, “… it is not the still life and not the landscape; it is difficult to select the name of the genre to elemental flowering” (Sarabianov, 1989, p. 180). Nevertheless the picture illustrates the understanding of a landscape by Camille Corot who treated it as “the portrait of the garden and of the painter’s soul” (Revald, 1994, p. 307).
M.Vrubel restored mosaics of the Old Russian temple and in his youth he diverged from the painting in the open air where one of the most important task is to catch the instant.
He created his twilight blue-violet world twinkling as the amethyst crystals and difficult for perception. But children began to speak all together, explaining the idea of the author’s intention. In their opinion, the figure in the centre of the bush is the soul of the bush.. Children discovered ascending diagonal emphasized by the color and supposed that it was a link between the soal and the tiny star high in Heaven above. The soal has to go up to the flickering star, using lilac clusters as steps.
Earlier we hadn’t notice anything of the kind in this picture, we hadn’t even noticed the star. But while rereading memoirs, we found similar thoughts of author corresponding to those of the children: “… the nature is the soul medium, which will open itself only to you and will tell you about your soul.” (Vrubel, 1976, p. 273). We tried to include into this paper the best reproduction, but the computer technologies appeared to be powerless (it might be one more proof in the ongoing discussion about the advantages and disadvantages of new computer technologies in demonstrating the works of art. Thus the computer technologies help to acquire the information about the works of art but fail to evoke deep emotional respond in the hearts of children).
Coming back to our experiment and the reliability of the suggested method, we would like to stress that: in a year, when the children were asked to discuss the topic “a fleeting moment”, they mentioned several pictures or used them as a main example, created their own metaphors such as: “Hot weather came, and the young spring withered as a bunch of violets on the window sill”. It proves the fact that the received emotions and information were processed and inscribed into the child’s conceptual picture of the world.
3.
The Connections of Cognition and Emotions
The relation between memory and emotions have been investigated by many researchers in Cognitive Psychology as well as in Neurophysiology or Neuropsychology (Bower, 1981, 1994).
In the literature, two definitions of emotion can be found. Emotion is sometimes considered as physiological and defined as a neurophysiological pattern of activity induced by the perception of an emotional stimulus (Damasio, 1995; Izard, 1993; Zajonc, 1980). Others define emotion as cognitive and consider it as a mental state resulting from a cognitive evaluation of the stimulus (Bower, 1981, 1994; Clore, 1994; Lazarus, 1984; Russell, 1991).
The distinction between affect and emotion is certainly issued from the following:
- Emotional state is the result of an interaction between emotional and cognitive components (Izard, 1993; Scherer, 1984);
- All information processing situation is assumed to result in an activation of memory traces and in a construction of new memory traces (Padovan and Versace, 1998, p. 120).
Emotional respond to a picture is revealed in case when it is associated with acquired emotional experience or evokes interest or curiously, because it is not associated with existed emotional experience.
The emotional component is not independent of the semantic component to be stored in precise brain areas as the others properties of the information, for instance, the perceptual or semantic properties.
Children show surprise when they notice the violations of expected events (Brooks and Lews, 1976) or as a response to discovery (Lewis, Sullivan, and Michalson, 1984). Surprise can reflect both a violation as well as a confirmation of expectancy (Izard, 1979).
In order to grasp and perceive the rapid changes of environment, in particular, during man-machine interaction, to make it easier for the consciousness to meet violation as well as a confirmation of expectancy, a human being should be attentive to the details and transition moments.
On the other hand, the underdeveloped emotional sphere of the child who is excited being surprised in respond to discovery and is anxious being surprised in respond to violations of expected events prevents the activation of the memory traces and the construction of new memory traces, because the interaction between underdeveloped emotional component and cognitive component is rather weak.
In the modern society, the child – computer interaction makes children get accustomed to be carried away with action but not with observation and perception. And perceiving could be considered as a kind of a dialogue between emotional and cognitive component.
4.
Conclusions
The transition moments can be called the fleeting ones in comparison with the so called stationary situations. The changes can be noticed by people in different moments of the manifestation of situations’ development - the earlier the better.
In order to be attentive and easily adapting to the change of circumstances, people should be ready to experience surprise. Surprise is an emotion. The development of the emotional sphere, the ability to be bewitched, entranced, and fascinated while looking at the so-called ordinary things, noticing the beauty of the changes initiates the process of thinking and processing information. Processing the information means the following:
- the recognition of the information pieces being the new ones;
- the establishment of a correspondence between the cognitive-emotional subspaces existing in the conceptual picture of the world and a new piece of information;
- inscribing it into a conceptual picture of the world in order to make it to improve knowledge, to make weltanschauung broader and, as result, to influence the future estimation of the events or entities.
The process of recognition of a transition moment depends on: (a) the degree of the development of the emotional sphere, (b) the time for establishing the links between emotional component and cognitive component, (c) the ability to process the information, (d) the awareness of ongoing processes.
The works of art convey the messages from the previous generations, and in order to decode them and make a discovery, children should experience surprise and inspiration, looking at the masterpieces.
Nowadays, when the pragmatic component in the perception of the world is much stronger than the emotional one, one should pay special attention to developing the emotional sphere of the child, because the creativity and information processing ability are closely connected with the recognition of the transition moments.
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