PasR Fenia Kotsopoulou

• Emotional manipulation reflects the tendency to strategically influence others’ emotions in order to obtain a desired outcome. (Rachel Grieve)

• Pathological laughing and crying is a dramatic disorder of emotional

expression caused by neurological disease is characterized by uncontrollable outbursts of laughing and/or

crying that are usually described as inconsistent with the emotions

the patient feels (Olney, 2011, p2)

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• The central sound feature of laughter is aspiration /h/. It is teh reiteration of this sound or its combination with a limited range of others, that enble us to identify an utterance as laughter
• The laughters consonants may be accompanied by any kind of vowels. These vowel are subject to modulation of lenght , pitch and stress.
• The physiology of the laughter: The body starts with movement of the mouth and the muscles of the throat to produce rhytmic vocalizations, and tehn to expand and include the face and the eyes, and finally whole body. there is quickened breathing, respiration and heart action and sometimes lacrimation.
• Laughter is individually patterned and indentified by familiar people.
• Different duration, different level of amusement.
• Truly intense laughter is distinguished by loudness.
• Laughter is a mode od social expression.
• The laughter utterance is multiple -track statement, more akin to music than the speech and its structure is elusive.
• Laughter is a signal of individuality.
• The phonetic pattern of laughter enable us to express perosnal feelings and their intensity loudly and in a crowd

(Edmoson, 1987)-

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A big mystery: Why do we laugh?

By Robert Provine, Ph.D. (http://www.nbcnews.com/id/3077386/)

• we born with the ccapacity to laugh
• It occurs unconsciously
• Laughter provides powerful, uncensored insights into our unconscious
• When we laugh, we alter our facial expressions and make sounds. During exuberant laughter, the muscles of the arms, legs and trunk are involved. Laughter also requires modification in our pattern of breathing.
• Laughter is social and contagious
• We laugh at the sound of laughter itself.
• Laughter, like crying, is a way for a preverbal infant to interact with the mother and other caregivers.
• Laughter seldom interrupts the sentence structure of speech.
• Ape laughter: the root of human laughter.
• Rats, for example, produce high-pitch vocalizations during play and when tickled.

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• Laughter is physiologically spasmodic, rhythmic, vocalized, expiratory, and
  (when due to tickling) involuntary.
• crying, laughing, and gasping in pain are considered as a natural class, the odd
  element in the group would seem to be laughter, since it is pleasant, while
  crying and gasping in pain are not. However, in the present theory, as opposed
  to other theories, laughter contains an element of emotional pain, namely the V
  interpretation, that something one cares about has been violated. This ties
  laughter together with crying and gasping in pain, in a way that theories of
  laughter and humor which do not include some element analogous to pain will fail
  to capture. (Tom Veach, 1999) http://www.tomveatch.com/else/humor/paper/node34.html

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http://youtu.be/mE29IZWAtOk

Key word: emotional vocalizations, crying – laughter

1st idea: A research on the physicality of emotional vocalizations like laughter and crying.The aim is to explore the several processes involved in both responses; investigate and document the physical changes occured by crying and laughing.What do you hope to find from this process?

I am interested also to research the different relationships between sound and body reaction during laughter or crying. How much “natural” or social constructed both emotional behaviour are? This could be further refined as a research question – what is the relationship of these ideas to vocals like crying and laughing? Make the connect explicit within the question itself.

Type of media: video performance and documentation, interactive installation, sound text.

 The idea of using an artistic process is a good way to approach PaR in order to investigate an area. Further articulation of your question and how this process unveils something that explores this question is the next step

• Askenasy, J. J. M. ( 1987).   The functions and dysfunctions of laughter.  Journal of General Psychology,  114, 317–  334

http://web.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=9dcdd37a-4977-4251-9100-820474760b12%40sessionmgr110&vid=2&hid=108

• Edmonson, M. S. (1987). Notes on laughter. Anthropological Linguistics,  29,  23–  34.

http://www.jstor.org/discover/10.2307/30028087?uid=2867968&uid=3738032&uid=2134&uid=4580602647&uid=2&uid=70&uid=3&uid=5910784&uid=67&uid=2810360&uid=4580602637&uid=62&uid=60&sid=21102160403203

• Ekman,  P. (Ed.) . ( 1973). Darwin and facial expression

http://web.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=92b159ac-f5aa-4103-8a4c-1c9edcc67dc6%40sessionmgr104&vid=2&hid=108

• Crying : The Natural And Cultural History Of Tears / Tom Lutz n.d., n.p.: New York London Norton 2001, University of Lincoln Library Catalogue, EBSCOhost, viewed 15 July 2013.
• Olney, N, Goodkind, M, Lomen-Hoerth, C, Whalen, P, Williamson, C, Holley, D, Verstaen, A, Brown, L, Miller, B, Kornak, J, Levenson, R, & Rosen, H 2011, ‘Behaviour, Physiology and Experience of Pathological Laughing and Crying in Amyotrophic Lateral Sclerosis’, Brain, 134, 12, pp. 3458-3469, ERIC,BSCOhost, viewed 15 July 2013.

http://brain.oxfordjournals.org/content/134/12/3458.full.pdf+html

• Emotional development

http://highered.mcgraw-hill.com/sites/dl/free/0073382647/568281/santrock4e_sample_ch10.pdf

• Mirror Mirror: The role of self-monitoring and sincerity in emotional manipulation

Rachel, G n.d., ‘Mirror Mirror: The role of self-monitoring and sincerity in emotional manipulation’, Personality And Individual Differences, 51, pp. 981-985, ScienceDirect, EBSCOhost, viewed 21 July 2013.

http://www.sciencedirect.com/science/article/pii/S0191886911003771

• The starting point is usually an idea; and the attitude is more often a concern with how humans construct the world through ideas, images, narratives and philosophies, than a generalisable ‘truth’, or understandings of cause and effect.

Creative work as/and practice: The new paradigm
Jen Webb, 2008

Practice-led research has practically no relationship with the positivist tradition or with classical empiricism. Although practice-led researchers frequently both produce and draw on concrete observations and measurements, the starting point is usually an idea; and the attitude is more often a concern with how humans construct the world through ideas, images, narratives and philosophies, than a generalisable ‘truth’, or understandings of cause and effect.

Any kind of research carried out by a practitioner in the course of performing their practice will involve:

1. research for practice (generating data that will provide knowledge about the content of, and the context for, your current creative project). Draws on conventional methodologies: archival research (reading, observing); field research (participant observation; case studies; interviews, surveys and focus groups; ethnographies).
2. research into practice (generating knowledge about techniques, approaches and thinking to do with how practice is carried out in your discipline). Draws on methodologies of practice (sketching; note-taking; photography; drafting and editing; simulations; self-reflection; concept mapping; story boards; flow charts; etc) as well as the conventional methods suggested above.
3. research through practice (using your creative techniques, often along with more conventional methodologies, to generate knowledge about a social, political, philosophical or other issue)

Is all creative work also a form of research? 
Not necessarily. What makes something research is that it is: intentional, deliberate, accessible and creative; and that it is geared towards the generation of new knowledge that is of benefit to others. Research that is geared towards your personal goals, or the needs only to develop content for a creative project, is not the same as research that is directed towards knowledge more generally: to increasing the store of humanity’s knowledge.

Approaches – logic
Answer the Big Questions that apply to any research question:
§ ontological – what do you think about the nature of being, what the world is?
§  epistemological – how do we know what we know; what counts as knowledge?
§ axiological – what is your ethical framework; what matters?
§ rhetorical – how will you engage with language, story and argument?
§ methodological – what does it mean to you to do research?
 
Approaches – principles
1.     identify a problem (the thing you want to research);
2.     formulate a hypothesis (what are your ideas about what’s going on?);
3.     delimit the field (what are you looking at, what approach will you take?);
4.     reflect on yourself – know your own biases and interests;
5.     develop the ‘tools’, or methodologies, to take on the project – appropriate for what you want to find out;
6.     don’t be afraid to be less systematic than the scientists; use bricolage, phenomenology, intuition
7.     make the work/s
8.     interpret and disseminate findings

Approaches – processes
1. definition (of your own practice; of practice in your field and its traditions; of the issue you are pursuing in this particular project)
2. reflection (continually call a halt in your practice, change hats, and reflect critically and analytically on both what you are doing, and what – and why – you are thinking)
3. intuition (pay attention to your intuition; don’t be afraid to be led down some interesting and productive paths)
4. attention (think about how you observe the world, or the part of it that is currently engaging you; know how to look, how to make, record and analyse observations)
5. experiment (don’t be bound by the conventions of form in your practice; take chances; don’t be bound by the conventions of your own thinking; take chances)

6. practice (make the work; keep making, keep manipulating, keep absorbed in it)

http://www.writingnetwork.edu.au/content/brief-notes-practice-led-research-0

PRACTICE as RESEARCH

PRE-MODULE: First ooVoo meeting with Kate Sicchio.

1st July

NOTES

• What is research question and how can be investigated through a practice, process or art and how can be demonstrated through performance.
• Kate’s PhD about> what is the relationship of applying video and performance within the choreography. She worked with video performance.
• 1^st module task: with what kind of question I start my research. Use the module as a way of practice on what we are going to do in PAF. Use it for writing a proposal.
• 2nd module task: how do I develop a practice of investigation that ts going to start exploring the question as a research? Thinking about what u want to do as a practice.
• In both they fit in the assesment we have to write.
• So write a proposal. What sort of methodology you might use within the practice? If you are looking at your own processes may you look things like fenomenology, if you are looking mainly how the audience is engaged might you use ethnographic techniques, methods like interviews/questionairies.
• The piece that you present is more an example of what you discovered.
• What can I discover by making this piece?
• PROCESS more than a final product.
• Its not necessary to be original or contribute a new knowledge( like in PhD)
• GUIDELINE: Topic-research question. Methodology. Contextualization. Connectivity.
• How is connected the theoretical aspect with the practical one.