Psychology suffers from the absence of mathematically-formalized primitives. As a result, conceptual and quantitative studies lack an ontological basis that would situate them in the company of natural sciences. The article addresses this problem by describing a minimal psychic structure, expressed in the algebra of quantum theory. The structure is demarcated into categories of emotion and color, renowned as elementary psychological phenomena. This is achieved by means of quantum-theoretic qubit state space, isomorphic to emotion and color experiences both in meaning (...) and math. In particular, colors are mapped to the qubit states through geometric affinity between the HSL-RGB color solids and the Bloch sphere, widely used in physics. The resulting correspondence aligns with the recent model of subjective experience, producing a unified spherical map of emotions and colors. This structure is identified as a semantic atom of natural thinking—a unit of affectively-colored personal meaning, involved in elementary acts of a binary decision. The model contributes to finding a unified ontology of both inert and living Nature, bridging previously disconnected fields of research. In particular, it enables theory-based coordination of emotion, decision, and cybernetic sciences, needed to achieve new levels of practical impact. (shrink)

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not (...) only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness. (shrink)