Unlike common nouns, person names refer to unique entities and generally have a referring function. We used event-related potentials to investigate the time course of identifying the emotional meaning of nouns and names. The emotional valence of names and nouns were manipulated separately. The results show early N1 effects in response to emotional valence only for nouns. This might reflect automatic attention directed towards emotional stimuli. The absence of such an effect for names supports the notion that the emotional meaning carried by names is accessed after word recognition and person identification. In addition, both names with negative valence and emotional nouns elicited late positive effects, which have been associated with evaluation of emotional significance. This positive effect started earlier for nouns than for names, but with similar durations. Our results suggest that distinct neural systems are involved in the retrieval of names' and nouns' emotional meaning.
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This project develops a European network for transdisciplinary innovation in artistic engagement as a catalyst for societal transformation, focusing on immersive art. It responds to the professionals in the field’s call for research into immersive art’s unique capacity to ‘move’ people through its multisensory, technosocial qualities towards collective change. The project brings together experts leading state-of-the-art research and practice in related fields with an aim to develop trajectories for artistic, methodological, and conceptual innovation for societal transformation. The nascent field of immersive art, including its potential impact on society, has been identified as a priority research area on all local-to-EU levels, but often suffers from the common (mis)perception as being technological spectacle prioritising entertainment values. Many practitioners create immersive art to enable novel forms of creative engagement to address societal issues and enact change, but have difficulty gaining recognition and support for this endeavour. A critical challenge is the lack of knowledge about how their predominantly sensuous and aesthetic experience actually lead to collective change, which remains unrecognised in the current systems of impact evaluation predicated on quantitative analysis. Recent psychological insights on awe as a profoundly transformative emotion signals a possibility to address this challenge, offering a new way to make sense of the transformational effect of directly interacting with such affective qualities of immersive art. In parallel, there is a renewed interest in the practice of cultural mediation, which brings together different stakeholders to facilitate negotiation towards collective change in diverse domains of civic life, often through creative engagements. Our project forms strategic grounds for transdisciplinary research at the intersection between these two developments. We bring together experts in immersive art, psychology, cultural mediation, digital humanities, and design across Europe to explore: How can awe-experiences be enacted in immersive art and be extended towards societal transformation?
Under the umbrella of artistic sustenance, I question the life of materials, subjective value structures, and working conditions underlying exhibition making through three interconnected areas of inquiry: Material Life and Ecological Impact — how to avoid the accumulation of physical materials/storage after exhibitions? I aim to highlight the provenance and afterlife of exhibition materials in my practice, seeking economic and ecological alternatives to traditional practices through sustainable solutions like borrowing, reselling, and alternative storage methods that could transform exhibition material handling and thoughts on material storage and circulation. Value Systems and Economic Conditions —what do we mean when we talk about 'value' in relation to art? By examining the flow of financial value in contemporary art and addressing the subjectivity of worth in art-making and artists' livelihoods, I question traditional notions of sculptural skill while advocating for recognition of conceptual labour. The research considers how artists might be compensated for the elegance of thought rather than just material output. Text as Archive and Speculation— how can text can store, speculate, and circulate the invisible labour and layers of exhibition making? Through titles, material lists, and exhibition texts, I explore writing's potential to uncover latent structures and document invisible labor, considering text both as an archiving method and a tool for speculating about future exhibitions. Using personal practice as a case study, ‘Conditions for Raw Materials’ seeks to question notions of value in contemporary art, develop alternative economic models, and make visible the material, financial, and relational flows within exhibitions. The research will manifest through international exhibitions, a book combining poetic auto-theoretical reflection with exhibition speculation, new teaching formats, and long-term investigations. Following “sticky relations," of intimacy, economy and conditions, each exhibition serves as a case study exploring exhibition making from emotional, ecological, and economic perspectives.
"Speak the Future" presents a novel test case at the intersection of scientific innovation and public engagement. Leveraging the power of real-time AI image generation, the project empowers festival participants to verbally describe their visions for a sustainable and regenerative future. These descriptions are instantly transformed into captivating imagery using SDXL Turbo, fostering collective engagement and tangible visualisation of abstract sustainability concepts. This unique interplay of speech recognition, AI, and projection technology breaks new ground in public engagement methods. The project offers valuable insights into public perceptions and aspirations for sustainability, as well as understanding the effectiveness of AI-powered visualisation and regenerative applications of AI. Ultimately, this will serve as a springboard for PhD research that will aim to understand How AI can serve as a vehicle for crafting regenerative futures? By employing real-time AI image generation, the project directly tests its effectiveness in fostering public engagement with sustainable futures. Analysing participant interaction and feedback sheds light on how AI-powered visualisation tools can enhance comprehension and engagement. Furthermore, the project fosters public understanding and appreciation of research. The interactive and accessible nature of "Speak the Future" demystifies the research process, showcasing its relevance and impact on everyday life. Moreover, by directly involving the public in co-creating visual representations of their aspirations, the project builds an emotional connection and sense of ownership, potentially leading to continued engagement and action beyond the festival setting. "Speak the Future" promises to be a groundbreaking initiative, bridging the gap between scientific innovation and public engagement in sustainability discourse. By harnessing the power of AI for collective visualisation, the project not only gathers valuable data for researchers but also empowers the public to envision and work towards a brighter, more sustainable future.