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Contributors are: Sayansk Da Silva, Joe Feinglass, Scott W. Hegerty, Joseph E. Hibdon, Jr, Arkadiusz Michał Kowalski, Małgorzata Stefania Lewandowska, Dawid Majcherek, Ewelina Nojszewska, Izabela Pruchnicka-Grabias, Agata Sielska and Julian Smółka.
Contributors are: Sayansk Da Silva, Joe Feinglass, Scott W. Hegerty, Joseph E. Hibdon, Jr, Arkadiusz Michał Kowalski, Małgorzata Stefania Lewandowska, Dawid Majcherek, Ewelina Nojszewska, Izabela Pruchnicka-Grabias, Agata Sielska and Julian Smółka.
Abstract
Accurate information about the number of cats living outdoors and how they respond to different kinds of management are necessary to quell debates about outdoor cat policy. The DC Cat Count will develop the tools and methodologies needed to realize this possibility and make them available for broader use. This three-year initiative represents a major collaboration between animal welfare organizations and wildlife scientists. Its unique and innovative approach is to use the best scientific methods to quantify all subpopulations of cats in the District of Columbia (outdoor, owned, and shelter cats), concurrently test and optimize simpler methods that can be used to measure cat populations by diverse users at scale, and identify the types of interventions that are likely to accomplish desired outcomes most efficiently. Ultimately, we believe that this approach is more likely to improve outcomes for both cats and wildlife than a continuation of the status quo.
Abstract
Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence.
Abstract
When I say ‘pain’, it is clearly a singular phenomenon. Yet if I ask for an example, you can provide many varying instances that confound the idea of its singularity. How can a pinprick be of the same thing as depression or grief? This study maintains the singularity of pain by exploring the process and structure of its experience to account for its variance and its subjectivity. Heidegger’s Being and Time provides the pathway to achieving this, where we comprehend how pain’s myriad manifestations, and their inherent subjectivity, relate to our way of Being – the meaningful horizon through which we encounter pain. The study comes to tie the process of encountering pain with a structure that suffering provides, which explains both the variance and the subjectivity of the pain experience. This can then be mapped onto individual experiences of a singular phenomenon to understand how they arose and what has conditioned them.