A2: Functions, Emotions

Exploration of Function Design in Java, Interactive Color using HSB colorMode

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A2: Functions, Emotions

Exploration of Function Design in Java, Interactive Color using HSB colorMode

"Life is a succession of lessons which must be lived to be understood." Helen Keller

Rule 2: "You will be presented with lessons" 'You are enrolled in a full-time informal school called "life." Each day in this school you will have the opportunity to learn lessons. You may like the lessons or hate them, but you have designed them as a part of your curriculum.' Cherie Carter Scott: If Life is a Game, These are the Rules

Computational Dynamics of Experience: Being, Doing

Event-Driven Experience: Emotions, Cognition, Behaviors

Compass: Tool for Orienteering and Way-finding: Align with Learning Cycles

Just as Einstein's curiosity about the alignment of a compass needle to indicate the hidden force-field corresponding to the energy flows of magnetic fields, useful for orienting in the physical world. Emotions can be considered as parameters for a personal intuition compass, a tool for way-finding where emotions can be attuned to align with energy flows of information integration: growth, learning, adaptation, leveling-up.

Creating A Personalized Dynamic Compass

1. Song: Emotional Dynamics

Song: Emotional Dynamics: Select and list a song that reflects dynamic rhythms that correspond to the changing nature of opposite emotions.
Gitbook: Provide a link to the song, artist, lyrics, or album.
Example: John Prine: That's the way the world goes around https://www.youtube.com/watch?v=wvY02SSj450 https://genius.com/John-prine-thats-the-way-that-the-world-goes-round-lyrics

First Steps - Modeling Emotions / Feelings: spatial representation

2. Hand Draw: Emotions and Colors Wheel:

Identifying emotions can improve emotional self-awareness and can be useful in developing skill in cognitive reappraisal to enhance emotional self-regulation. (See Below) Several models of emotion classification exist that are useful in understanding the nature of emotions. (See Emotion Classification). Kandinsky art theories associate colors with emotion /feelings in the creation of his expressionist art.

On sketch paper, draw a wheel and divide into 8 arcs.
Along the outside of the circle, write an emotion / feeling next to each arc section.
Choose a color to associate with each emotion/ feeling, add selected colors to the the corresponding arcs.
optional see: emotions list, wikipedia list
Gitbook: Post photo of your sketch on Gitbook
Gitbook: Create a table: for each of your emotions, determine and list as either positive or negative valanced.

see example gitbook table below

Positive

Negative

Joy

Anger

Serenity

Disgust

3. Hand Draw: 2D-Mapping Emotions: Affect, Arousal

Some models of Emotion consider that emotions can be classified according to 2 or more dimensions: affect ( unpleasant: negative, pleasant: positive), and arousal: (intense: positive, mild: negative) , valence is positive, negative as shown in the image below for the Circumplex Model of Emotions. See Example in Tabs Below

Using the 8 emotions that you identified in part 1:
Sketch a circumplex diagram with labeled axis:
- x-axis: affect: unpleasant (left), pleasant (right)
- y-axis: arousal: intense (up), mild (down)
Write your selected emotions in the associated quadrant of the circle based on the affect and arousal level of these emotions.
Select one color for each of the 4 regions of your diagram
Add color to each region using the selected colors
Gitbook: post a photo of your sketch

4. Hand Draw: 4 Custom Shapes for Emotion Regions

For each region of your diagram: design / sketch a custom simple motif using combination of processing primitive shapes or vertex points, to represent each of the 4 regions of your diagram. - see example below
2 Shapes must specify vertex points to create the PShapes
2 Shapes can use processing primitive shapes to create the PShapes - can be placeholder shapes
Layout the vertices of the shape on paper using a square grid: recommended use units: 100 * 100 grid with cols, rows each representing 10% of w, h. ( see example below )
Color the shapes using colors you specified for the region.
Optional: consider inspiration from symbols of cycles such as: seasons, card suits, Tao Taijitu, geographic directions.
See Example in Tabs Below
Gitbook: post a photo of your 4 shape sketches
Example: PShape using Vertex Points
Note: it is recommended to sketch using a 100 x 100 grid with each column, row representing .10 percent of w, or h. The sketch below has each column representing .25 percent of w, h.

Processing PShape Objects:

See Tabs for examples of custom shapes, emotion diagram, vertex points

Custom Function to create PShape using Vertex Points


void setup(){
  size( 100, 100);
  colorMode(HSB, 360, 100, 100, 100); //HSBA
  background(0);
  color fallColor = color( 270, 100, 100, 100);  //define color
  PShape myShape = fallShape( 100, 100, fallColor); //create PShape
  shape( myShape, 10, 10); //display PShape
}

//create custom PShape usign vertex points
PShape fallShape( float w, float h, color c1 ) {
  PShape s = createShape(); //initialize PShape
  s.beginShape();
  s.vertex( 0,.25 * h);  //1
  s.vertex( w *.75, 0);  //2
  s.vertex( w * .10, h * .50); //3
  s.vertex( w * .25, h * .75); //4
  s.vertex( w * 0, h* .75); //5
  s.endShape(CLOSE);
  s.setFill( c1);
  return s;  
}

Example Custom Function to Display PShape Pattern

also: see the tab: map( ) for an optional way to create linear (rather than random) color variation when using a for-loop for your pattern logic


void setup() {
  size( 400, 400);
  colorMode(HSB, 360, 100, 100, 100); //HSBA
  background(0);
} //end setup

//when mousePressed, translate origin to mouse position
//create a PShape using custom function
//display PShape pattern using custom function
void draw( ) {
  if (mousePressed) {
    color fallColor = color( 270, 100, 100, 80); 
    PShape myShape = fallShape( 100, 100, fallColor);
    translate( mouseX, mouseY);
    drawMirroredShapes( myShape, fallColor);
    resetMatrix();
  }
} //end draw

//Function to display PShapes in a mirrored pattern
//Color uses small random variations of HSBA color components
//Using PShape transform methods
void drawMirroredShapes(PShape s, color c1   ) { 
  float hue = hue ( c1 ) + random( -15, 15 );
  float sat = saturation ( c1) - random( 0, 30);
  float bright = brightness( c1) - random( 0, 30);
  float alpha = alpha( c1) - random( 0, 40);
  color curColor = color (hue, sat, bright, alpha);
  s.setFill(curColor );
  shape( s, 0, 0); //draw one time
  s.scale( 1.0, -1.0); //mirror across x-axis
  shape( s, 0, 0); //draw 2nd  time
  s.resetMatrix();
} 

//create custom PShape usign vertex points
PShape fallShape( float w, float h, color c1 ) {
  PShape s = createShape(); //initialize PShape
  s.beginShape();
  s.vertex( 0, .25 * h);  //1
  s.vertex( w*.75, 0);  //2
  s.vertex( w* .10, h* .50); //3
  s.vertex( w* .25, h* .75); //4
  s.vertex( w* 0, h* .75); //5
  s.endShape(CLOSE);
  s.setFill( c1);
  return s;
}

The image, code below shows use of the map( ) function to use the for-loop's counting variable to create a linearly changing fraction variable that can be used to adjust the size and color of a PShape within a custom pattern function.

Creating linear variation in size, color using map( ). The the variable fraction encodes a linear relationship with the counting variable. The fraction creates gradient of size, color change which conveys depth better than the random variation of size, color.

//example of for-loop used within in a custom Pattern function
// see use of map( ) to create a gradually changing fraction that can be used to modify 
// color and size of the PShape each time the loop is executed
int maxCount = 10;
for ( int i=1; i < maxCount; i++) {
    //color, size variation logic using map( )
    float fraction= map( i, 1, maxCount, 1.0, 0.5); //fraction decreases in value
    
    float hue = hue( c1) - ( 60 *fraction); // creates linear change in hue
    float sat = saturation( c1) - (40 * fraction);
    float bright = brightness( c1) - ( 50 * fraction);
    float alpha = alpha( c1) - (40 * fraction);
    color curColor = color( hue, sat, bright, alpha);
   
    //shape variation logic
    initShape.setFill(curColor);
    initShape.scale( fraction, fraction); //resize using value mapped to i, maxCount
    initShape.rotate( PI/10 * i);
    shape( initShape, 0, 0); //display shape
  }

5. Programming: Functions, PShape Objects

Custom Functions to Create, Transform, Display Processing PShape Objects

Write a Processing program with the following features:

See example code in tabs above:

Functions (create four) to create custom PShape objects See Gitbook Examples: PShape
1. Two Custom Functions can use PShape primitive shapes function signature: PShape myShape1 ( float w, float h, color fillColor )
  1. In the custom function, you will create a PShape using input parameters: w, h
  2. example using processing primitive: PShape myShape1 ( float w, float h, color fillColor ){PShape s = createShape( RECT, 0,0, w, h); s.setFill( fillColor); return s; }
2. Two Custom Functions must use PShape beginShape( ), vertex( )...etc - and be specified using fractional values for w, h for each point:
  1. The only 'literal' value can be 0
  2. All other vertex values must be of the form shown below where the x coordinate is defined as a fraction between 0.0 - 1.0, multiplied by the input parameters w, h s.vertex (0.5 * w, 0.8 * h );

Required: write code for 4 custom functions, each function will create and return a PShape object.
Function signature: specify a custom function name PShape myShape1 ( float w, float h, color fillColor )

2. Functions (create 2 ) to Display PShape objects as Patterns

Required: write 2 custom functions that will Display your custom PShapes in some pattern. It is suggested that you add logic such as for-loops and random value ranges to draw multiple PShapes with variation in hue, saturation, brightness, width, height, position. (see example in tabs above) - Display PShape Example Function Signature: void mirrorPattern( PShape s, color fillColor)
When the function is executed, it will display 2 or more PShapes based on the PShape object that is passed into the function as parameter.
To display a PShape, within your custom pattern function, you must use the PShape method shape( ), where the signature is below: you can use 0,0 for x, y shape( PShape s, float x, float y)
Function signature: specify a custom function name - determine parameters to match your requirements,
void drawComplexShapes1( PShape s, color fillColor )
void drawComplexShapes2( PShape s, float w, float h, color fillColor )
map( ) function: optional see the example within the tabs that shows using a for-loop (within a custom pattern function) - to create a variable: fraction that is used to create linear variation in shape - size, color, rather than using random variation for color

3. Use in a Processing program with setup ( ) and draw ( ): interactive display You'll create a simple program to test your PShapes

Global Variables: define global variables for 5 colors: background and primary fill for each of your PShape objects.
setup( ) - Set canvas size, colorMode( HSB ), test your 4 PShape object functions by executing in setup, comment this code out when adding draw( ) logic.
- PShape s = myShape1( ......); //call your shape function
- shape( s, 100, 100); //display one time
- initialize global colors using the processing color selector tool
draw( ) -
Conditional Logic: if mousePressed
- translate origin to mouse position
- Conditional Logic ( if-else ) : mouseX and random selection of pattern
  - Create logic in draw( ) to determine if mouse is on the left or right of the center-line.
    When the mouse is on the left side, randomly select to display one of the negative region PShapes.
    When the mouse is on the right side of the center-line, randomly select one of the positive shapes to display.
  - if mouse is on left canvas region:
    Random event likelihood: see gitbook examples of using random( )
    randomly display one of your 2 negative-region PShapes
  - if mouse is on right canvas region:
    Random event likelihood: see gitbook examples of using random( )
    randomly display one of your 2 positive-region PShapes
optional: keyPressed( ) - events ( as shown in the video)
- if desired, add logic to have filters, or transparent background added - corresponding to specific keys being pressed.

4. Gitbook: Post a screenshot of your canvas showing all 4 patterns displayed. 5. Gitbook: Post code for one of your PShape functions and one of your display functions using the gitbook format for embedding code. 6. Name your project to use syntax: lastname_netID_A2 7. Submit zip file of your Processing Project folder with code on eLearning.

On eLearning: Submit a link to your gitbook along with a screenshot of your gitbook page for Assignment 2 Submit zip file of your Processing code on eLearning.

Inspiration:

Working Mindfully with Difficulties: RAIN: Recognize, Allow, Investigate, Nurture - Tara Brach

Recognize what is happening;
Allow the experience to be there, just as it is;
Investigate with interest and care;
Nurture with self-compassion

According to the Semantic Pointer Architecture Theory of Emotions (SMA), emotions can be considered as transient, dynamic neural phenomena that are associated with connections between explicit memory's linguistic abstract concepts and implicit memory's stored instances of concrete sensory experiences. Emotions can be considered as dynamic flows of energy. Emotions can also be considered as tunable parameters to help us learn from difficulties and to orient toward personal growth. Learning how to process emotions associated with difficult situations is an important key to learning how to grow toward self-actualization, consider this as leveling-up in life's lessons.

Wassily Kandinsky: Concerning the Spiritual In Art

Published in Munich in 1911, Kandinsky's text, Über das Geistige in der Kunst, defines three types of painting; impressions, improvisations and compositions. While impressions are based on an external reality that serves as a starting point, improvisations and compositions depict images emergent from the unconscious, though composition is developed from a more formal point of view.[29] Kandinsky compares the spiritual life of humanity to a pyramid—the artist has a mission to lead others to the pinnacle with his work. The point of the pyramid is those few, great artists. It is a spiritual pyramid, advancing and ascending slowly even if it sometimes appears immobile. During decadent periods, the soul sinks to the bottom of the pyramid; humanity searches only for external success, ignoring spiritual forces.[30]
Colours on the painter's palette evoke a double effect: a purely physical effect on the eye which is charmed by the beauty of colours, similar to the joyful impression when we eat a delicacy. This effect can be much deeper, however, causing a vibration of the soul or an "inner resonance"—a spiritual effect in which the colour touches the soul itself.[31] Wikipedia

Kandinsky Color Summary: pdf (https://www.mat.ucsb.edu)

Modeling Emotions:

Circumplex Model of Emotions

This model suggests that emotions are distributed in a two-dimensional circular space, containing arousal and valence dimensions. Arousal represents the vertical axis and valence represents the horizontal axis, while the center of the circle represents a neutral valence and a medium level of arousal.[9] In this model, emotional states can be represented at any level of valence and arousal, or at a neutral level of one or both of these factors. Circumplex models have been used most commonly to test stimuli of emotion words, emotional facial expressions, and affective states.[11] Circumplex Model - Wikipedia

Emotions can be defined as multi-componential, including subjective feeling, appraisals, reactions in the service of action preparation and expressions, action tendencies (including expressions), and regulation (compare Scherer, 2005; Frijda, 2007). A central component of emotions, the “feeling component,” is inherently subjective and can only be assessed with self- report measures, such as the Geneva Emotion Wheel (GEW; Scherer, 2005).

Emotional and Cognitive Appraisals of Events

“the main way in which cognitions and emotions are linked is through appraisals. When anything happens, we evaluate what it means for us, it's significance to us – this is an emotional appraisal, or an appraisal that leads to an emotional reaction. These appraisals are believed to help us in making fine distinctions about our emotional experiences or in determining the extent or the intensity of the emotion.” Ogelk pdf 2007

Emotion Classification - Dimensional Models: PAD - Pleasure, Arousal, Dominance

PAD uses three numerical dimensions to represent all emotions.[21][22] The PAD dimensions are Pleasure, Arousal and Dominance.
The Pleasure-Displeasure Scale measures how pleasant or unpleasant one feels about something. For instance both anger and fear are unpleasant emotions, and both score on the displeasure side. However joy is a pleasant emotion.[1]
The Arousal-Nonarousal Scale measures how energized or soporific one feels. It is not the intensity of the emotion -- for grief and depression can be low arousal intense feelings. While both anger and rage are unpleasant emotions, rage has a higher intensity or a higher arousal state. However boredom, which is also an unpleasant state, has a low arousal value.[1]
The Dominance-Submissiveness Scale represents the controlling and dominant versus controlled or submissive one feels. For instance while both fear and anger are unpleasant emotions, anger is a dominant emotion, while fear is a submissive emotion.[1]Wikipedia
Virtual Emotions of Avatars: PAD - FAP
Zhang et al. describe how the PAD model can be used to assign specific emotions to the faces of avatars. In this approach the PAD model is used as a high level emotional space, and the lower level space is the MPEG-4 Facial Animation Parameters (FAP). A mid-level Partial Expression Parameters (PEP) space is then used to in a two level structure: the PAD-PEP mapping and the PEP-FAP translation model.[14]

Emotional Regulation

Emotional self-regulation or emotion regulation is the ability to respond to the ongoing demands of experience with the range of emotions in a manner that is socially tolerable and sufficiently flexible to permit spontaneous reactions as well as the ability to delay spontaneous reactions as needed.[1]

Cognitive change: Reappraisal Reappraisal, an example of cognitive change, is a late selection strategy, which involves reinterpreting the meaning of an event so as to alter its emotional impact.[13] For example, this might involve reinterpreting an event by broadening one's perspective to see "the bigger picture."[31] Reappraisal has been shown to effectively reduce physiological,[32] subjective,[14] and neural[33] emotional responding. As opposed to distraction, individuals show a relative preference to engage in reappraisal when facing stimuli of low negative emotional intensity because these stimuli are relatively easy to appraise and process.[26]

Research: Emotion Regulation and Wellbeing

We found that acceptance and reappraisal were predictive of higher wellbeing, while rumination and suppression were predictive of lower wellbeing. [ Pauw et al ]

Stages of Grief

Sailboat - Hierarchy of Needs - Kauffman

Emotions and Creativity:

When trying to produce novelty, how can we anticipate the feelings, the emotions, and the aesthetics that our creation will provide our audience based on their previous experiences?
.... imagination, and thus creative possibilities, are not only grounded in symbolic representations but are also tightly connected with previous bodily experiences evoking emotions and memories. (15) (PDF) The Microsociology of Creativity and Creative Work. Available from: https://www.researchgate.net/publication/337053085_The_Microsociology_of_Creativity_and_Creative_Work [accessed Jan 29 2021].

Non Dualism

Nondualism primarily refers to a mature state of consciousness, in which the dichotomy of I-other is "transcended", and awareness is described as "centerless" and "without dichotomies" Wikipedia

Nondual Awareness

Ordinary human experience is structured by the duality of subject-object distinctions. However, multiple philosophical and mystical traditions ... point to the possibility that this dichotomy may be transcended in special states of nondual awareness.
Nondual awareness (NDA) can be defined as a state of consciousness that rests in the background of all conscious experiencing – a background field of awareness that is unified, immutable, and empty of mental content, yet retains a quality of cognizant bliss (Josipovic, 2014). Research Publication: Nondual Awareness Dimensional Assessment

Choiceless Awareness

Awareness is the silent and choiceless observation of what is; in this awareness the problem unrolls itself, and thus it is fully and completely understood.
A problem is never solved on its own level; being complex, it must be understood in its total process. To try to solve a problem on only one level, physical or psychological, leads to further conflict and confusion. For the resolution of a problem, there must be this awareness, this passive alertness which reveals its total process. J. Krishnamurti

Non-Dual, The Void

When you appreciate the power of nature, knowing the rhythm of any situation, you will be able to hit the enemy naturally and strike naturally. All this is the Way of the Void.
When your spirit is not in the least clouded, when the clouds of bewilderment clear away, there is the true void Miyamoto Musashi - The Book of Five Rings

Philosophers speak of reality as unencumbered by the dualistic oppositions we so often get lost in; a reality lacking such distinctions as mind/matter, subject/object, reality/appearance, self/other, substance/attribute, essentialism/nihilism, past/future, here/there, true/false, good/evil—all binary pairs that cause fracturing and suffering. Science and Non-Duality

Less Wrong

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