Affect Studies

This paper examines the use of symptomatic bodies and affective responses in Matthew Lewis' 1796 Gothic novel The Monk in order to evoke feelings of terror and awe through characters' encounters with the sublime. These affective responses to the Gothic sublime are conveyed through descriptions of physiological and neurobiological changes occurring within the body and brain during scenes of emotional intensity. Edmund Burke's 1757 treatise on aesthetics A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful states that while the sublime derives from pain, the beautiful arises from pleasure. I argue that while the beautiful, as Burke describes, produces symptoms of "relaxation" which are activated by the  parasympathetic nervous system, encounters with the sublime activate the sympathetic nervous system—resulting in involuntary neurobiochemical responses of terror and awe, triggered through the release of adrenaline hormones in the brain. Through current developments in the field of affect theory, one can begin to determine the sources and causes for certain emotions, as well as their processes of becoming. By examining the affective responses in Lewis' The Monk, one can begin to understand the specific bodily and neurological processes involved in inducing terror when encountering the sublime, rather than merely describing these emotional states.

The essay tries to retrace the essential elements that constitute our amorous relationality starting from the work of  Merleau-Ponty and Simondon. First of all, we will consider the Merleau-Pontian conception of the body as a fundamental structure that enables us to conceive of our sentimental life in embodied terms. Then, we will elucidate the  meaning of the sensible ideas theorized by Merleau-Ponty on the basis of Proust’s work, with particular attention to the sentimental institution and the revaluation of the amorous imagination. It will then be possible to to consider Simondon’s work in order to retrace the meaning of the notions of emotion, affectivity and invention, in the attempt to understand the characteristics that contribute to the transindividual individuation of the couple. Finally, we will try to recompose our technological and digital experience  from the point of view of our amorous experiences, focusing on the pervasiveness of screens and on the possibility of rethinking their status as transindividual mediators of our desire and sentimental life.

The planetary transformations of Capitalocene affect us in multiple and heterogeneous forms. In this context, activisms emerging as embodied, experiential and situated manifestations of affectation. This article is an exploration of the activisms and resistances against impacts that Capitalocene -specifically, the extractivism- has had in Chilean society, from the perspective and experience of our own trajectories as global south academics and activists, committed to the entanglements that emerge constantly in the face of the impacts.  Our work refers to the affects and resistances that we as authors have had the chance to experience in spaces of training and companionship of activists who resist in territories affected by the mining, agro-export and energy industry; and those who studied the Diploma in Social Ecology and Political Ecology from the Group of Agroecology and the Environment at the University of Santiago, offered between 2013 and 2017. Based on these experiences, we ar...

This paper explores how Deleuze and Guattari's philosophical concepts extend and elaborate discursive and psychoanalytic interpretations of qualitative research findings. Analyzing data from a UK research project exploring young people's engagements with Social ...

Abstract Combining anthropological analysis with the discipline of urban studies and the theory of melancholy, this article offers the concept of ‘melancholic citizenship’ to describe the emotion of sadness aroused among a discriminated group of citizens in light of a process that highlights their social marginality. The case study explored is the struggle of old-time Mizrahi (Jews who immigrated to Israel from Arab countries) residents of the Hatikva neighborhood – a lower income neighborhood of south Tel Aviv – against the inflow of African migration to the area. Based on anthropological field work I conducted in the neighborhood between the years 2010–2013, I argue that the struggle of the longstanding residents aroused melancholic feelings among them when they realized that the global migration is a current indication of their discrimination as lower income Mizrahim who inhabit the city periphery and are located at the margins of Israeli society.

Este artigo propõe uma reflexão sobre a forma como Cavalo Dinheiro (2014) e Vitalina Varela (2019), do realizador português Pedro Costa, restauram o direito de narrar e materializam os efeitos do trauma relacionados à migração e ao colonialismo, a partir de uma análise da inscrição dos corpos e subjetividades diaspóricas no espaço pós-colonial contemporâneo, mais especificamente no contexto da representação de imigrantes e descendentes de imigrantes cabo-verdianos em Portugal. Tomamos a noção de materialidade como prisma para esta análise, tanto no sentido da materialidade do aparato cinematográfico empregado pelo realizador, quanto no sentido da materialidade da própria imagem e suas operações formais na construção da experiência da história e do trauma. Argumentamos que essas operações formais, especialmente o uso da temporalidade (histórica e fílmica) e do enquadramento que criam um distanciamento, não só revelam uma estética própria como também um engajamento político e ético do...

Wonder is an elusive yet ever-present dynamic phenomenon that deserves more attention in (science) education. What might wonder have to do with critiquing science (as the hegemonic and “neutral” discipline it has become) and living out a more life-affirming and anti-racist vision of science education? In this chapter I share a meta-assemblage research-creation: a researcher-created experimental exhibit of found poetic data assemblages about wonder, joy, Black life, neurodiversity, love, science, and science education. The intention of this meta-assemblage research-creation is to explore the affective flows of the phenomenon of wonder, while also inviting consideration of how the multiple forces and co-components of the body(ies) assembled here move together in an uneasy and historically traceable tension. These co-movements suggest how “traditional” science and school science education are not only complicit with, but also may be directly implicated as primary protagonists in the vi...

This experimental research aims to explore the effects of a specific form of social thinking called nexus on an individual’s personal involvement with regard to a social object. This study (n = 109) focuses on the influence of affective and socially salient items on the three dimensions of personal involvement with regard to a social object, when it’s labelling is associated vs. non-associated with an image. The independent variables are (1) the type of label presented to participants (“natural catastrophe”, “tsunami”, or no label at all) and (2) the type of lexical activation (label only, vs. image added to label). Participants’ personal involvement is a dependent variable. Results show that personal involvement increases when participants view an image in addition to label. This increase concerns significantly two of the dimensions of personal involvement, namely participants’ perceived possibility of action and their object’s valuation. Moreover, the label “tsunami” increases par...

Feminist new materialisms account for the agency of the body and the ways it is entangled with, in and through its environment. Similarly, affect scholars have put words to the bodily feelings and attunements that we can't describe. In this paper, we provide a brief survey of feminist thought that established the scholarly landscape and appetite for the turn to affect and offer this as a theoretical tool for thinking through the child body. Feminist affect is used here as a resource for understanding embodied change in children who are living with intergenerational trauma. Through analysing data from the Interfaith Childhoods project, we explore art as a way to affectively rework trauma in three case studies with refugee children from our Australian fieldwork sites. Our new materialist arts based approaches map embodied changes in children that speak to how bodies inherit and are affected by things that often can't be described. Specifically, in relation to their religious, ...

Light is perhaps the most ubiquitous physical phenomenon and one of the most frequently cited tropes of discovery, artistry, and invention in fields across the arts and humanities. Given this condition, how can we write about light as the subject and medium of performance when we intimately rely on light to understand our worlds, all that occurs within them, and all that is written about them. We ask this question not simply because we aim to topple long-standing binaries that privilege the human over the non- or more-than-human (though this continues to be an important goal for us) but, more urgently, because we want to examine how light as a performing entity has contributed to the production of provocative atmospheres at large-scale public events. Our study draws on recent scholarship on “affective atmospheres,” a concept variously defined by cultural geographers and sociologists as “a quality of environmental immersion that registers in and through sensing bodies while remaining...

Abstract The images from Abu Ghraib are images of horror: the horror of torture, and the horror of war. For audiences in the West, I want to argue, they are also horror images, that is, images in the genre of horror. This is crucial in explaining both their affective powers upon ...

Social media are increasingly envisioned by public health authorities as a new promising arena for public engagement. Against this backdrop, this article attends to how citizens confirm, debate and resist governmental framings of health information online. By drawing upon STS and affect theory, it centers on the digital mediation of feelings on a Facebook engagement site for HPV vaccination. While the public authorities framed HPV vaccination as a matter of love and fear, a wide register of positive and negative feelings were mediated on the site. The article proposes the notion of 'digitalised literary devices' to analyse how mundane literary habits, such as the use of punctuation, online have been transformed to digital devices that, for instance, mediate public feelings. By conceptualizing public engagement as 'civic intensities' , it shows how digital devices, such as digitalised literary devices, mediate and intensify public feelings of engagement.

Recent years have seen rising trends in terrorism, hate crime and Islamophobia in the UK. Enforced Prevent and counter-terrorism strategies have re-located all Muslims as threatening and having potentiality to radicalisation. This PhD thesis is concerned with how a Muslim schoolgirl feels, lives and experiences everyday life in this era. I follow fifteen Muslim schoolgirls across time and space by mapping relational materialities between things that matter for them in their ordinary everyday practices and experiences. This thesis takes up the feminist new materialist and post- humanist call for anticipating potentialities of the virtual, material and affective to find a different capacity for the analysis of events, practices, assemblages, feelings, and the backgrounds of everyday experiences against which relations unfold in their myriad potentials. I argue that the affective atmospheres around Muslims provide the conditions for the emergence of racialising encounters. Multi-sensory methods of walking intra-view, creating photo-diary and face-to- face interview were developed to explore relations between bodies, spaces, times, virtual and actual. Stories, places, objects, thoughts and feelings that emerge as data and in-between relational materialities were mapped and read diffractively through one another.
Thinking through relationality, materiality and affect enabled this thesis to actualise the plurality of Muslim schoolgirls' relations-in-the-world and their subjectivity as part of the becoming-assemblages with human and more-than- human bodies. This thesis mapped and challenged some of the racialised, gendered and hegemonic views of Muslim schoolgirls as risky, threatening and with a potential to radicalisation. Mattering with what those Muslim schoolgirls mattered with, their fear of racial harassment in the course of their everyday lives, of what to say, do and wear, their desire to live in safe houses and blossom in safe schools, all showed that safeguarding educational policies need to shift their focus towards threats of racial harassment, of living in overcrowded housing and being silenced rather than seeking to prevent the threat of radicalisation.

This article troubles touch as requiring embodied proximity, through an affective account of virtual touch during coronatime. Interested in doing academia differently, we started an online Barad readingwriting group from different locations. The coronatime void was not a vacuum, but a plenitude of possibilities for intimacy, pedagogy, learning, creativity, and adventure. Although physically apart, we met daily through Zoom, and we touched and were touched by each other and the texts we read. A montage of writing fragments and a collective artwork, based on the Massive_Micro project, highlight virtual touching. Undone, redone, and reconfigured, we became a diffractive human/nonhuman multiplicity.

In coming to know with alleys, I am after queer practices and modes of noticing that exceed institutional capture. I want to read alleys for the ways in which everyday scenes have been gathered into form in improvisational maneuvers of care or neglect that elude smart city logics and intelligible configurings of polity. Encountering alleys as spaces of attention and abandonment works ethnologically to characterize what happens out back as the enabling of better reals.

A poem and other sensory keys to my doctoral research on the memories of the dictatorial regime that ruled my country, Argentina, while I was a kid.

This was an invited paper for the Sensate Memories Roundtable, organized by the Center for Imaginative Ethnography.

This paper responds to the frequently occurring phenomena of ‘sad affects’ experienced by student teachers as they confront the logic of ‘proper mathematics’ with young children of differently abled bodies. The notion of ‘proper’ entails a normalizing fixity of ‘what counts’ as mathematics for certain children and fails to recognize mathematics as a sensual encounter amongst bodies. The study draws upon Spinoza’s notion of affect to consider the body’s capacity to act, and makes the case for choreographing with body-movement, rather than disclosing, the politics involved in becoming teachers. It discusses how affective bodying with mathematics, children and difference in the classroom practice can be not only deconstructed but also reconstructed in affirmative terms, choreographically, as feeling and thinking-in-movement in ways that trouble and perturb the prevailing sharing of the ‘sensible’ in early childhood mathematics and in teacher education.

https://manifold.umn.edu/projects/the-shapes-of-fancy

What can the Renaissance tell us at our present moment about who and what is “queer,” as well as the political consequences of asking? In posing this question, The Shapes of Fancy offers a powerful new method of accounting for ineffable and diffuse forms of desire, mining early modern drama and prose literature to describe new patterns of affective resonance.

Starting with the question of how and why readers seek traces of desire in texts from bygone times and places, The Shapes of Fancy demonstrates a practice of critical attunement to the psychic and historical circulations of affect across time within texts, from texts to readers, and among readers. Closely reading for uncharted desires as they recur in early modern drama, witchcraft pamphlets, and early Atlantic voyage narratives and demonstrating how each is structured by qualities of secrecy, impossibility, and excess, Christine Varnado follows four “shapes of fancy”: the desire to be used to others’ ends; indiscriminate, bottomless appetite; paranoid self-fulfilling suspicion; and melancholic longings for impossible transformations and affinities. These affective dynamics go awry in atypical and perverse ways. In other words, argues Varnado, these modes of feeling are recognizable on the page or stage as “queer” because of how, and not by whom, they are expressed.

This new theorization of desire expands the notion of queerness in literature, decoupling the literary trace of queerness from the binary logics of same-sex versus opposite-sex and normative versus deviant that have governed early modern sexuality studies. Providing a set of methods for analyzing affect and desire in texts from any period, The Shapes of Fancy stages an impassioned defense of the inherently desirous nature of reading, making a case for readerly investment and identification as vital engines of meaning making and political insight.

The online workshop, held at the Department of English and Linguistics at the University of Mainz, explores the nuances of literary and cultural conceptualisations of trace. Some papers focus on the manner in which trace stimulates novel readers' sensory imaginings and thus on trace as a stylistic device that brings settings, characters, and events to life.

Dans son article sur le rythme, le quotidien et la télévision, Stephan Trinkaus tente de rapprocher deux concepts de rythme qui semblent de prime abord contradictoires : le concept deleuzien du rythme comme transition permanente entre deux « milieux » en état de vibration, et le concept du rythme comme « phénomène ondulatoire », qui est communément associé à l'acception traditionnelle du rythme. Se référant à la « rythmanalyse » de Lefebvre ainsi qu'à la dualité onde-particule en mécanique quantique, l'auteur montre que l'onde ne doit pas nécessairement être considérée comme une structure binaire organisée de façon régulière ; en raison de sa non-localisabilité fondamentale, elle apparaît plutôt comme un phénomène d'interférence. Selon cette perspective, l'ondulation peut être représentée comme une dynamique de perpétuel report, réorganisation et redéfinition, qui, en dernière instance, remet en question toute conception d'une entité stable. Dans la dernière partie de sa contribution, l'auteur déduit de ses prolégomènes théoriques un modèle de description du " flow " télévisuel quotidien : à l'inverse des interprétations traditionnelles, il ne le conçoit pas comme un réel manipulé s'opposant à la réalité, mais bien comme un phénomène d'interférence dans lequel les espaces devant et derrière l'écran se constituent en un monde commun, matériel. La télévision se révèle dès lors être une " rythmicité vécue " , au sein de laquelle prend place la transition perpétuelle/un perpétuel passage entre existence et non-existence. Stephan Trinkaus unternimmt in seinem Beitrag zu Rhythmus, Alltag und Fernsehen den Versuch, zwei auf den ersten Blick kontradiktorische Rhythmus-Konzepte zueinander in Beziehung zu setzen: das deleuzianische Konzept des Rhythmus als permanenter Übergang zwischen in Vibration befindlichen " Milieus " und das Konzept " Rhythmus als Wellenphänomen " , das gemeinhin der traditionellen Rhythmus-Auffassung zugeordnet wird. Im Rückbezug auf Lefebvres " Rhythmanalyse " sowie auf das Teilchen-Welle-Problem in der Quantenmechanik zeigt der Verfasser, dass die Welle nicht notwendigerweise als binär strukturiert und regelhaft organisiert gedacht werden muss, sondern sich in ihrer grundsätzlichen Nicht-Lokalisierbarkeit als Interferenzphänomen zu erkennen gibt. Das Wellenhafte stellt sich aus dieser Perspektive als eine Dynamik des beständigen Differierens, Neukonstellierens und Neufigurierens dar, die in letzter Konsequenz jede Vorstellung von stabiler Entität in Frage stellt. Im letzten Teil seines Beitrags leitet der Verfasser aus seinen theoretischen Vorüberlegungen ein Modell zur Beschreibung des alltäglichen Fernseh-" Flows " ab, den er entgegen geläufigen Deutungen nicht als der Realität entgegengesetzte manipulierte Wirklichkeit beschreibt, sondern als ein Interferenzphänomen, in dem Diesseits und Jenseits des Bildschirms sich als eine gemeinsame, materielle Welt konstituieren. Fernsehen erweist sich damit als " erfahrene Rhythmizität " , in der sich der permanente Übergang zwischen Existenz und Nicht-Existenz ereignet.

Natalie Alvarez’s Immersions in Cultural Difference grapples with the impossibility of knowing difference disentangled from how encounters with the other are (and have historically been) staged. Alvarez follows continuities between military training and dark tourism across four sites of cultural immersion to show how bodies are made to practise encounters with difference, rendering otherness as either assimilable or productively elusive.

In his study of nationalism, Benedict Anderson famously identified a notion of simultaneity across “homogeneous, empty time” as the temporal structure underpinning nationness as “imagined community.” Since the 18th century, Anderson argued, time was spatialized as newspapers and novels were the prime cultural forms of imagining a community across space. In the era of televisual nation-building, another kind of temporality has emerged as a form for thinking about and feeling the nation. Archival aesthetics, it is argued, is a mode of affective historiography that mobilizes a double temporality: While constructing chronologies in its remixing of archive footage, reproducing conventional narratives of epochs and events, it also engenders, via reappropriations of popular music and cinema, a transhistorical, even mythical notion of the nation as a community of feeling across time. Through a discussion of Finnish TV documentaries by Peter von Bagh, this article returns to Homi K. Bhabha’s theorizing of the pedagogical and the performative as the two, intertwined modes of narrating the nation.

Review of Marla Carlson, Affect, Animals, and Autists: Feeling around the Edges of the Human in Performance (2018),  ASAP/J (30 Aug. 2018). http://asapjournal.com/affect-animals-and-autists-feeling-around-the-edges-of-the-human-in-performance-stanton-b-garner-jr/.

I argue that the passage of money and objects between characters and across generations and the transfers of affect between characters and the novel’s readers reveals a complex interweaving of the political and economic with the affective and the sentimental in The Old Curiosity Shop. In contrast to the bureaucratically thwarted inheritance plot of Bleak House, the thwarted inheritance plot of The Old Curiosity Shop is all but a narrative ruse—Nell’s grandfather has nothing to bequeath, and his brother’s arrival with wealth to pass on comes too late for both Nell and her grandfather. Hilary Schor argues that this plot thus reveals both the commodification of the female body and resistance to such commodification, and writes that Nell illustrates that “the role of the good, quiet, daughter … may well be to represent a patrimony she cannot, yet, possess for herself” (45). I examine how Nell’s ambivalent relationship to patrimony solicits questions of inheritance and bequest that intertwine the economic with the political. By tracing the importance of legal rights of bequest and inheritance to post-1789 political arguments, I uncover the under-examined discussion of inheritance in British political economy as part of arguments about land reform. By the time of Dickens’s novel, the Saint-Simonians had memorably framed inheritance as a disincentive to work and industry. Although the Saint-Simonian argument to eliminate inheritance did not alter the French Civil Code, it greatly affected J.S. Mill, as he writes in his Autobiography, and marks his discussion of inheritance in Principles of Political Economy. There, Mill mitigates their argument to focus instead on the appropriate sizes of inheritances. In this way, Mill bridges Bentham’s argument that the state should receive the estates of the childless wealthy with that of the Saint-Simonians by arguing that the state should pose limits to inheritance while allowing children to remain comfortable members of the class in which they were raised. Chartist agitation for land reform during this period operated through similar assumptions about the value of work.
This sense of inheritance as simultaneously discouraging to industry but a legal right necessary to maintain class position across generations informs The Old Curiosity Shop’s plots of failed, frustrated, and partial inheritances. The novel’s two divergent narrative trajectories—Nell’s journey from work toward death and Dick Swiveller’s narrative rise—map the limits of respectable escapes from the corruptions of work, either through death or an acceptably modified inheritance. The novel’s engagement with inheritance also highlights its affective field, yoking together its two most prominent affects, love and anxiety, as a tale not of the passes and impasses of economic circulation but rather of the trials of capital accumulation in the middle class across generations. By examining the passage of affects rather than money in the midst of a discourse about land and political rights, Dickens’s novel uncovers a notion of anxiety as a response to an impossible internalization and coagulation of capitalism’s preeminent bearer of potential, wealth, and treats its release as an unveiling of the affective network that Dickens understood best, the moral sentiments. More broadly, then, anxiety in this text offers a mechanism to capture and internalize accumulations of wealth, mistaking social potentials for the pride of personal possession.

Resumen: En este artículo se analiza el documental Las lindas, de Melisa Liebenthal, que logra casi un pase mágico: tornar visible la serie de dispositivos que modelaron a aquellos cuerpos. Enunciados paternos, prejuicios sociales, fotografías y recuerdos del grupo son catalizadores para indagar las relaciones problemáticas de la directora con su propia imagen centradas en el tema de la voz y la belleza femenina. Lo que se signa en sus imágenes finales arroja una serie de preguntas en torno al carácter técnico o arcaico-astral de la imagen en sus relaciones con el erotismo, la belleza, la voz y los gestos. Abstract: This article analyzes the documentary Las lindas by Melisa Liebenthal. The film achieves almost magically to render visible the series of dispositives that shaped her and her friend's bodies. Parental statements, social prejudices, photographs and group memories are catalysts for investigating the director's problematic relationships with her own image focused on the theme of female voice and beauty. What is ciphered in the final images raises a series of questions on the technical or archaic-astral character of the image in its relations with eroticism, beauty, voice and gestures.

Emily Gravett thematises fear in Little Mouse’s Big Book of Fears (2007). Gravett here makes explicit the underlying concern of her corpus: the potential fear inherent in the reading process. Dangerous surprises and vulnerable protagonist/narrators end Dogs and Wolves: the narrator listing dogs is a cat; a rabbit reading about wolves is eaten. Wolves illustrates the risky scene of reading: the rabbit, so absorbed in its book, does not notice the hungry wolf. Reversing this plot, Fears ends with the mouse-narrator feared by humans. This book tells of fears by their technical names, including many common to children, such as sciaphobia (shadows), arachnophobia and isolophobia (being left alone). Arming children with an adult vocabulary, they mature, and learn to overcome their fears independent of adult rule (Stallcup 2002).

Fear recurs throughout Rousseau’s educational tract Émile (1762). Rousseau exhorts familiarity to overcome specific fears, but equally a familiarity with experiencing the new in order to overcome fear generally. Rousseau writes on language acquisition that children should be spoken to in words that can be related to objects and events, so that learning has its roots in experience. Rousseau thus denies children the essential experience of not understanding. When children cannot understand the words or events of a book, they are able to return to them repeatedly, and conquer them, to learn that effort overcomes incomprehension. Where Rousseau famously fears children reading, Gravett’s fear-filled books imply that reading can be an encounter with fear that encourages children to cope with it maturely.

This course touches the *affective life of black diaspora*—that is, how black diasporans dream, romanticize, feel, long for, envy, scorn, and otherwise "affect” each other across borders, oceans, epochs, and generations. We will examine these phenomena within cultural artifacts such as accounts of the Middle Passage, memoirs of expatriation and repatriation, Pan-Africanist manifestos, theories of diaspora, as well as diasporic folklore, fiction, poetry, film, music, memes, and socialities. Among the questions we will engage are the following: What precisely is “diaspora” as a geneaological, geopolitical, historical, intellectual, ontological, and affective formation? How does diaspora overlap with and diverge from other boundary-crossing paradigms like cosmopolitanism, transnationalism, and globalism? What are the uses and limits of diasporic frameworks? Is there a such thing as non-diasporic blackness? What does it mean to be a diasporic agent and protagonist? How might we imagine intergalactic and deep space diasporas? How does diaspora function and manifest at the subnational and local level? How might we “practice” diaspora (to use Brent Hayes Edwards' formulation)? What is the time of diaspora? What does diaspora feel like?

Digital public spheres have to be understood as spaces for social negotiations. They are places involved in processes of demarcating gender boundaries as well as in processes that call these boundaries into question. In regard to the increased occurrence of ‘Online Hate Speech’, digital public spheres can also be understood as battlefields. Images are one central mode of subjection that intra-act with further systems of signs. From this basis, the article proposes a conceptualization of ‘mediatized disrespect’ in order to argue that multimodal addressings of being have to be seen as discursive-material, performative acts. The term ‘mediatized disrespect’ proposes an alternative approach because it is not based on the dualism of hate speech/free speech or virtuality/reality. Instead, it stresses the contingency of threatening images and their materiality. After theoretical and methodological considerations, the article focuses on digital games culture and gender as an example for the question how images proceed in a discursive-material fashion  and for how to figure out the possibilities for reconfiguring matter and meaning. Finally, the article aims to conceptualize a performative theory and methodology of images.

Continuando o outro ensaio (Memória, mistagogia, arteterapia), nesta meditação partimos dos elementos de psicologia presentes nos místicos e filósofos cristãos para pensar nos vários graus de consciência reflexiva e sua relação com a experiência estética.  Busca-se uma compreensão do sentimento e sua diferença em relação a paixão e emoção. Apresentam-se as várias potências da alma e suas operações articuladas de modo a buscar compreender como juntas operam em vários graus de consciência. Os vários graus de consciência são visualizados numa analogia com as moradas da alma de Santa Teresa e outros graus apresentados por outros santos (São Boaventura no  Itinerarium Mentis in Deum, São Francisco de Sales no Tratado do Amor a Deus).

Continuing the other essay (Memory, mystagogy, art therapy), in this meditation we start from the elements of psychology present in the mystics and Christian philosophers to think about the various degrees of reflective consciousness and its relation with the aesthetic experience. It seeks an understanding of feeling and its difference in relation to passion and emotion. The various powers of the soul and their articulated operations are presented in order to seek to understand how they together operate in varying degrees of consciousness. The various degrees of consciousness are visualized in an analogy with the dwellings of the soul of St. Theresa and other degrees presented by other saints (St. Bonaventure in the Itinerarium Mentis in Deum, St. Francis de Sales in the Treaty of Love of God).