Stanley Cavell’s account of aesthetic judgment has two components. The first is a feeling: the judge has to see, hear, ‘dig’ something in the object being judged, there has to be an ‘emotion’ that the judge feels and expresses. The second is the ‘discipline of accounting for [the judgment]’, a readiness to argue for one’s aesthetic judgment in the face of disagreement. The discipline of accounting for one’s aesthetic judgments involves what Nick Riggle has called a norm of convergence: the (...) judge aims to get one’s audience to taste see or hear what the judge tastes or sees or hears in the object being judged. Because of the unmistakable difficulty in reaching agreement in aesthetic judgment, Riggle has denied that aesthetic judgment requires a convergence norm and has proposed instead that it requires ‘a kind of harmony of individuality’ (which Riggle calls ‘vibing’). We argue that Cavell offers a version of the convergence norm that is distinct from those that Riggle criticizes, namely Kant’s demand for agreement and Andy Egan’s presupposition of similarity in dispositions in ‘non-defective’ aesthetic conversations. Cavell’s version of the convergence norm is ‘the hope of agreement’. One can hope that one’s audience will agree with one’s aesthetic judgments even when one isn’t in a position to demand agreement or to presuppose similarity in the dispositions that would make agreement more likely. Cavell’s distinct convergence norm avoids Riggle’s criticisms and contributes to a richer account of what’s going on when we disagree about aesthetic matters. (shrink)

Philosophers often write in a particular mood; their work is playful, strident, strenuous, or nostalgic. On the face of it, these moods contribute little to a philosophical argument and are merely incidental. However, I will argue that the cognitive science of moods and emotions offers us reasons to suspect that mood is relevant for philosophical texts. I use examples from Friedrich Nietzsche and Rudolph Carnap to illustrate the role moods play in their arguments. As readers and writers of philosophical texts, (...) we do well to attend to mood. (shrink)

This essay investigates a particular form of “affection” that has been neglected by the phenomenological tradition. This particular phenomenon is often referred to as the vibe, vibrations, or some variation thereof. This essay rearticulates “the vibe” as bodily emanation: human beings emanate feeling that is experienced by and through our bodies. My study of bodily emanation begins with Edmund Husserl’s notion of affectivity and then moves to Eugene T. Gendlin’s notion of the sentient body. This discussion enables my own argument: (...) Our bodies do not simply respond to the world in a sentient fashion, but also solicit sentience from one another. This solicitation of sentience is the basis of bodily emanation. I explicate bodily emanation through two realms of experience: the pre-conscious and the conscious. The first realm designates the manner in which our bodies summon emanation from one another in a continuous, multilateral fashion. Such preconscious solicitation precedes our conscious control and recognition. The second realm designates our ability to willfully project and direct particular vibes for particular purposes. This latter realm is what most people think of when they refer to “the vibe.” In general, this essay provides a detailed account of a particular phenomenon that most of us experience, but do not fully consider or attend to. (shrink)

In this chapter, the embodied consciousness of clubbing and raving is considered through the theory of extended mind, according to which the mind is a distributed system where brain, body, and environment play equal parts. Building on the idea of music as affective atmosphere, a case is made for considering the vibe of a dance party as cognitively, socially, and affectively distributed. The chapter suggests that participating in the vibe affords primary musical consciousness—a kind of pre-reflexive state characterized by affective (...) and bodily knowledge—and speculates about the neural correlates of clubbing and raving by means of an analogy with brain research on psychedelic states. (shrink)

Why are cities looking more and more alike? Why do hipster coffee shops and clothing boutiques all share that same vibe? One answer is that gentrification represents an invasive force that forcibly re-models cities, from the top-down, to meet the monotone eye of the gentrifier. Gentrification brings in external developers and designers, who create new businesses which all meet that one monotonous aesthetic mold. But I suggest, using work from Quill Kukla and Jane Jacobs, that this top-down model of gentrification (...) is incomplete. Gentrification also incentivizes local residents to remake their own businesses and properties to meet that monotone eye. Gentrification is a pressure which pushes cities to meet a universalized and therefore homogenized taste, rather than letting diverse tastes flourish. (This piece originally published as part of a symposium on Quill Kukla's City Living.). (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

Students during the distance education were experiencing solitude and depression in their studies due to no social interaction which led to psychological suffering. In this article, college students' attitudes toward statistics learning were investigated, and its predictors by statistical modeling. Secondary data was extracted from a current study from the literature, summarized using descriptive statistics, and presented in tabular form. As for modeling the predictors of students' attitudes in learning statistics, it was done through multiple linear regression via the ordinary (...) least square (OLS) approach. The finding of statistical calculations revealed that, on average, students possess a "neutral attitude" towards learning statistics online. This suggests that students do not show active involvement and positive engagement in the classroom environment due to some challenges they have encountered during online learning. The regression model I revealed that students who are using mobile phones, fewer study hours in statistics, and intimate relationships with teachers are the significant factors of positive attitude in learning. On the other hand, regression model II showed that low internet signal and low mental health are significant determinants of positive behavior in learning statistics online. Conclusively, students who have suitable gadgets for online learning and with good vibes with their teachers have good performance in class even if they study less, however, effective. Moreover, students with less distraction on social media and with mental stress, tend to deviate their attention in studying their lessons in statistics which positively increases their learning attitude and well-being. (shrink)

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...) by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)

“Only those who have lived among the birds could truly appreciate the magic of their singing. At daybreak, the bushes and the alley corners would all be drenched in a vibrant chorus of birdsongs. The whole scene is exhilarating, exuding the mysterious vibes of a major orchestra.” -/- —In “Conductor”; The Kingfisher Story Collection [1].

Travel is a service-intensive business that contributes to both global and local economies. As to the World Tourism Organization, the international tourist arrivals reached over a billion. These arrivals are fulfilled by various travel and tour companies that make billions of dollars in annual revenue. The conspicuous economy is generated through the close collaboration of the stakeholders, particularly tour companies, hotels, governments, scholars, and local vendors. One cannot deny the contribution of city tours to the striking success of the travel (...) industry. A city tour is one of the main types of tours that refers to the travel organization designed to make people experience the good vibes of a city. This concept is worth studying as being a contributor to economic growth. A successful city tour thrives on strong design. A well-cultivated design is essential for good moments of truth during touring activity. Henceforth, one should ponder the principles for a quality city tour design from both theoretical and practical perspectives. (shrink)

Just like letters that go together in a word, there are soulmates who came in the symbolic “Be.” Spiritual partnership found in soulmates are far from foreign to Islam: to the contrary The Quran and Prophetic Tradition are replete with them. The need for heart based self-study and self-discovery beyond (including but not limited to) family of origin, into the Muslim meta-history is evident in the erasure of this truth from mainstream narrative. When applied with intellect The Quran and Prophetic (...) Tradition stand well on their own for depth in understanding relationships. Guidance from the Quran and Prophetic Tradition simultaneously make connections to the perennial wisdom of all faiths and spirituality of the Prophetic inclination to love and the Divine Reality of simply being. (shrink)