The Jonathan Edwards Miscellanies Companions are products of JESociety's "Miscellanies Project." Essays were contributed by an international body of scholars hailing from East Asia, Australia, Europe, the UK, and North America. The contributions canvas the wide range of topics contained in Edwards' "Miscellanies."
"The Miscellanies Project" and the Companions are part of the "Visual Edwards Project" created by Robert L. Boss. A unique contribution to Jonathan Edwards studies, "Visual Edwards" is a software project that maps Edwards' writings, volumes 1-26 of the Yale critical edition of The Works of Jonathan Edwards, and provides a new view of America's theologian. "Visual Edwards" is, as it were, an advanced computational material which can be stretched, bent, and zoomed to direct the scholar to areas of interest. As a cartographic tool, it grants the reader visual access to Edwards in his own words.
A team-oriented project to visually unlock Edwards' notebooks, and map intricate connections in his thought, "The Miscellanies Project" and the print Companions are first steps toward the Himalayan task of visualizing Jonathan Edwards -- an ongoing project seemingly without end. To echo Edwards' sentiment in "Types," "there is room for persons to be learning more and more ... to the end of the world without discovering all."
Words painstakingly recorded for decades to revive the once-banned language of the NSW south coast are being spoken again on country that breathes life into them.
Emotionally expressive music and dance occur together across the world. This may be because features shared across the senses are represented the same way even in different sensory brain areas, putting music and movement in directly comparable terms. These shared representations may arise from a general need to identify environmentally relevant combinations of sensory features, particularly those that communicate emotion. To test the hypothesis that visual and auditory brain areas share a representational structure, we created music and animation stimuli with crossmodally matched features expressing a range of emotions. Participants confirmed that each emotion corresponded to a set of features shared across music and movement. A subset of participants viewed both music and animation during brain scanning, revealing that representations in auditory and visual brain areas were similar to one another. This shared representation captured not only simple stimulus features but also combinations of features associated with emotion judgments. The posterior superior temporal cortex represented both music and movement using this same structure, suggesting supramodal abstraction of sensory content. Further exploratory analysis revealed that early visual cortex used this shared representational structure even when stimuli were presented auditorily. We propose that crossmodally shared representations support mutually reinforcing dynamics across auditory and visual brain areas, facilitating crossmodal comparison. These shared representations may help explain why emotions are so readily perceived and why some dynamic emotional expressions can generalize across cultural contexts.
Across the world, people express emotion through music and dance. But why do music and dance go together?
We tested a deceptively simple hypothesis: Music and movement are represented the same way in the brain.
— Beau Sievers (@beausievers) October 12, 2021
ᔥ “New work published today in Current Biology Visual and auditory brain areas share a representational structure that supports emotion perception With @ThaliaWheatley @k_v_n_l @parkinsoncm @sergeyfogelson (thread after coffee!) https://t.co/AURqH9kNLb https://t.co/ro4o4oEwk5” / Twitter ()in
So glad I could make it to this IndieWeb popup! Interesting to hear other viewpoints and talk things through.
I was happy to see another woman attending this IndieWeb popup event, but would like to figure out how to bring more women into the IndieWeb sphere.
The complexities of social media ought to prompt deep reflection on what we all owe to the future, and how we might discharge this debt.
For those who don’t have a subscription, Alan has kindly and pleasantly provided a samizdat version on his site in .pdf format.
I've been meaning to check out webmentions for a while now, as I had been debating between installing some kind of comments package for this blog or just using social to interact with visitors and readers.
Science fiction is often described, and even defined, as extrapolative. The science fiction writer is supposed to take a trend or phenomenon of the here-and-now, purify and intensify it for dramatic effect, and extend it into the future. “If this goes on, this is what will happen.” A prediction is made. Method and results much resemble those of a scientist who feeds large doses of a purified and concentrated food additive to mice, in order to predict what may happen to people who eat it in small quantities for a long time. The outcome seems almost inevitably to be cancer. So does the outcome of extrapolation. Strictly extrapolative works of science fiction generally arrive about where the Club of Rome arrives: somewhere between the gradual extinction of human liberty and the total extinction of terrestrial life.
Write and cite, research and re-search, and never get lost in Databyss. Welcome to your new word processor.
Make music using the free-to-use audio and video materials from the Library of Congress This is a project by Brian Foo as part of the 2020 Innovator in Residence Program at the Library of Congress.
Collaborative annotation tools expand the concept of social bookmarking by allowing users not only to share bookmarks but also to digitally annotate w
Amazing conversations about media
Looks like a fun tool to try out.