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This is why, for Virno, even an unattractive feeling like opportunism can provide the "kernel" from which to shape "transforative behavior. While this book makes a similar if more modest claim for the social significance of its own fundamentally ambivalent "sentiments of disenchantment" (an ambivalence demonstrated by the fact that all are mobilized as easily by the political right as by the left, as the histories of disgust and paranoia illustrate so well), it is useful to recall that with notable exceptions like Hobbes or Niccolт Machiavelli, who made fear central to their theories of modern sovereignty and the state, it is the discourse of philosophical aesthetics, rather than that of political philosophy or economy, in which emotions have traditionally played the most pivotal role-from Longinus to Immanuel Kant on the sublime (perhaps the first "ugly" or explicitly nonbeautiful feeling appearing in theories of aesthetic judgment), to the twentieth-century mutation of this affect I describe in my chapter on stuplimity. Or, to trace another exemplary arc, from the seventeenth-century "Affect Theorists" who tried to systematize the correlation of musical forms and genres to specific emo- 6. Yet this particular aesthetic emotion, the arousal and eventual purgation of pity and fear made possible by the genre of tragic drama, actually serves as a useful foil for the studies that follow. In fact, most of these feelings tend to interfere with the outpouring introduction. If Ugly Feelings is a bestiary of affects, in other words, it is one filled with rats and possums rather than lions, its categories of feeling generally being, well, weaker and nastier. This weakness and nastiness notwithstanding, most of the negative affects in this study have managed to endure in a way that other feelings once widely in circulation (like the nineteenth-century feelings of "neurasthenia" and "amativeness") have not, acquiring a colloquial status that broadens the range of sociohistorical dilemmas they can be used to interpret. Each ugly feeling will thus be examined in a cultural context where it seems particularly charged or at stake, ranging from contemporary feminist debates over the perceived problem of aggression between feminists (a context in which the antagonistic as well as pejoratively feminized feeling of "envy" becomes especially problematic) to an American cultural discourse that from the antebellum period forward has found it compelling to imagine the racialized subject as an excessively emotional and expressive subject (a situation in which the affect I call "animatedness" becomes especially problematic). Its overarching project is rather a theoretical one, calling for a more fluid reading across forms, genres, and periods than is the prevailing norm in academic criticism today. In fact, by not just analyzing but mobilizing affective concepts to investigate a wide range of dilemmas, the book makes arguments that provide motivation for further historical research by explaining why these feelings might be interesting enough to merit attention in the first place. It also demonstrates how feeling can be used to expand the project of criticism and theory. Just as one chapter mobilizes envy to disclose the unusual difficulty feminine aggression has posed for an otherwise versatile and capacious psychoanalytic theory on which feminist film criticism has strongly relied, another invokes the affect I call "stuplimity" to highlight certain limitations in classic theories of the sublime that prevent it from adequately accounting for the experience of boredom increasingly intertwined with contemporary experiences of aesthetic awe. In his discussion in Leviathan, for instance, of the role played by fear in securing the covenants upon which social order in the commonwealth depends, Hobbes argues that the human fear of "invisible spirits" (which, prior to the time of civil society, superseded our fear of the power of other humans) gave rise to a specific form or genre: the oath. Hobbes defines this as "a form of speech, added to a promise, by which he that promiseth, signifieth, that unless he perform, he renounceth the mercy of his God. In a similar vein, the noncathartic feelings in this book could be said to give rise to a noncathartic aesthetic: art that produces and foregrounds a failure of emotional release (another form of suspended "action") and does so as a kind of politics. For the morally degraded and seemingly unjustifiable status of these feelings tends to produce an unpleasurable feeling about the feeling (a reflexive response taking the form of "I feel ashamed about feeling envious" or "I feel anxious about my enviousness") that significantly parallels the doubleness on which irony, as an evaluative stance hinging on a relationship between the said and the unsaid, fundamentally depends. It is interesting to note here that while the texts chosen for the way they highlight these feelings are drawn from both high and mass culture, all are canonically minor. Something about the cultural canon itself seems to prefer higher passions and emotions-as if minor or ugly feelings were not only incapable of producing "major" works, but somehow disabled the works they do drive from acquiring canonical distinction. Like rage and fear, ugly feelings such as envy can be described as dysphoric or experientially negative, in the sense that they evoke pain or displeasure. They can also be described as "semantically" negative, in the sense that they are saturated with socially stigmatizing meanings and values (such as the "pettiness" one traditionally associates with envy); and as "syntactically" negative, in the sense that they are organized by trajectories of repulsion rather than attraction, by phobic strivings "away from" rather than philic strivings "toward. The affect I call animatedness, for instance, will allow us to take the disturbingly enduring representation of the African-American as at once an excessively "lively" subject and a pliant body unusually susceptible to external control and link this representation to the rhetorical figure of apostrophe (in which a speaker animates or "gives life" to nonhuman objects by addressing them as subjects capable of response), and, further, to connect these to a symptomatic controversy surrounding the televisual aesthetics of dimensional animation, a technique in which clay or foam puppets are similarly brought to "life" as racialized characters by being physically manipulated and ventriloquized. In this manner, even as the exaggerated expressiveness and hyperactivity associated with animatedness marks an important exception to the Bartlebyan aesthetic fostered by the other feelings in this book, it similarly draws our attention to the politically charged predicament of suspended agency from which all of these ugly feelings ensue. As the translation, into affect, of a state of being "puppeteered" that points to a specific history of systemic political and economic disenfranchisement, racialized animatedness actually calls attention to this predicament in a particularly emphatic way. It is the situation of passivity itself, and the allegorical significance it transmits to the ugly feelings that both originate from and reflect back upon it, to which I now want to turn in closer detail, by examining several moments of narrative inaction from two other American stories of the corporate workplace: the crime melodrama Double Indemnity (Paramount, 1944; directed by Billy Wilder, based on the novel by James M. Cain) and the conspiracy film the Conversation (Paramount, 1974; directed by Francis Ford Coppola). Both are also examples of film noir, a postwar genre commonly understood (even to the point of clichй) as being aesthetically and ideologically driven by an entire spectrum of dysphoric feelings: paranoia, alienation, greed, jealousy, and so forth. In contrast to the "mere recital" of events, which Aristotle finds superior to visual spectacle for the maximization of catharsis ("mere recital" entailing a summary in which the duration of events narrated greatly exceeds that of their actual narration, such that "even without seeing the things take place, he who simply hears the account of them shall be filled with horror and pity"), the moments from the noir films that concern us involve a narrative expansion or stretch, in which "discourse time" becomes considerably longer than "story time. But despite their obvious difference from scenes of high drama keyed to emotional tonalities which we are intended to recognize instantly, and even as their own affective quality remains comparatively undefined, these moments of conspicuous inactivity remain affectively charged. In fact, I would suggest that what each moment produces is the inherently ambiguous affect of affective disorientation in general-what we might think of as a state of feeling vaguely "unsettled" or "confused," or, more precisely, a meta-feeling in which one feels confused about what one is feeling. This is "confusion" in the affective sense of bewilderment, rather than the epistemological sense of indeterminacy. And in fact a rather familiar feeling that often heralds the basic affect of "interest" underwriting all acts of intellectual inquiry? Turning to our two films, we may find it useful to refer to this very specific state of affective indeterminacy as the negative feeling of "disconcertedness"-the feeling of not being "focused" or "gathered.

For labor pain during childbirth and to support postpartum recovery, the leaves are prepared as a multi-herb decoction (botella or bebedizo) and combined with other ingredients including minnieroot (guaucн) root. Availability: this herb is sometimes sold at botбnicas that specialize in supplying medicinal plants and may be found growing in parks and open, disturbed areas in New York City. Flowers grow in short, umbrellalike clusters along the sides of branches; petals are white and fused together at the base in a tube-like shape, opening at the end with 5 lobes, surrounding yellow anthers in the center. Fruits are round, fleshy berries turning from yellowish green to purplish black as they mature and containing numerous beige seeds (Acevedo-Rodrнguez 1996). However, when taken in excess, cases of overdose have been reported from internal use of large quantities of the fresh leaves due to their high alkaloid content. Symptoms include gastrointestinal irritation, queasiness, vomiting, headache and rarely mydriasis (Gruenwald et al. In laboratory and preclinical studies, this plant has demonstrated the following activity: anticandidal, antidermatophytic, antifungal, antimicrobial, antitrypanosomal, immunomodulatory and vaginal yeast infection improvement (see "Laboratory and Preclinical Data" table below). The isolated steroid alkaloid glycosides from this plant have shown the following pharmacological effects in laboratory and animal studies: local anesthetic, sedative and antiulcer (may be due to inhibition of pepsin and hydrochloric acid secretion; Gruenwald et al. Other major chemical constituents that have been identified in this plant include the following: alkaloids, alpha-solamargine, ascorbic acid, beta-sitosterol, beta-solamargine, chaconine, citric acid, diosgenin, glycoalkaloids, linoleic acid, oleic acid, palmitic acid, saccharopine, saponin, solamargine, solanine, solansodamine, solasodine, solasonine, stearic acid, tannin, titogenin, uttronin, uttrosides and xi-solaninigrin (Duke & BeckstromSternberg 1998). Average daily dose is 10 drops of liquid extract 2-3 Ч daily or 5-10 g tincture daily. To prepare a tincture, combine 1 part herb to 1 part alcohol (95% ethanol) by volume. To prepare a compress or rinse, add a handful of herb to 1 liter water and boil for 10 minutes (Gruenwald et al. Tratamiento de la candidosis vaginal con extracto de Solanum nigrescens (Tesis Mag. Evaluation of gastric antiulcerogenic effects of Brassica oleracea and Ocimum basilicum in rats. Screening of antimicrobial activity of plants popularly used in Guatemala for the treatment of dermatomucosal diseases. Screening of activity to bacteria, fungi and American trypanosomes of 13 native plants. Anticandidal activity of plants used for the treatment of vaginitis in Guatemala and clinical trial of Solanum nigrescens preparation. Determinaciуn de la actividad inmunomoduladora de los extractos de zarzaparrilla, quilete y pericуn. Effect of the leafy vegetable Solanum nigrum on the activities of some liver drug-metabolizing enzymes after aflatoxin B1 treatment in female rats. Traditional Preparation: Typically the leaves are prepared as a tea by infusion or decoction. Traditional Uses: Hierbabuena leaves and stems (either fresh or dried) make a delicious tea for easing stomach ache, abdominal pain or indigestion. As a tea for the relief of stress and anxiety, this herb is sometimes combined with chamomile (manzanilla). For burns or minor abrasions, a poultice is made by crushing or liquefying the fresh leaves so that they exude a small amount of green juice (zumo), and this zumo is applied to the affected area. For menstrual cramps (dolores menstruales), hierbabuena is boiled with eggshells (cбscaras de huevos) and cinnamon (canela) to make a tea. Also, this plant can be cultivated in home gardens or occasionally found growing wild in parks. Flowers are densely clustered along slender, terminal spikes from the axils of the leaf bracts; petals are pale lilac, pink or whitish. Distribution: Native to the Mediterranean region, this plant is now established in Europe and North America, growing along stream banks and moist places and is widely cultivated (Bailey Hortorium Staff 1976). Due to the menthol and Lcarvone content of the essential oil, it may have a weak potential for sensitization and allergic reaction (Gruenwald et al. Although negative side effects are rare, oral administration of peppermint oil is associated with the following adverse reactions: abdominal pain, bradycardia, contact dermatitis, dyspepsia, heartburn, hypersensitivity, muscle tremor and perianal burning (McKay & Blumberg 2006; Liu et al.

But, electronic spatial representations (maps and images) are not accessible to many groups who · Converging Technologies for Improving Human Performance 125 lack sight, training, or experience with computerized visualizations, thus contributing to an ever-widening digital divide. With new technological developments, such as the evolution from textual interfaces to graphically based Windows environments, and the increasing tendencies for website information to be restricted to those who can access visualizations and images, many people are being frustrated in their attempts to access necessary information - even that relevant to daily life, such as weather forecasts. When viewing representations of the geographic world, such as a map on a computer screen, sight provides a gestalt-like view of information, allowing the perception of the synoptic whole and almost simultaneously recognizing and integrating its constituent parts. However, interacting with a natural environment is in fact a multi-modal experience. Jacobson, Rice, Golledge and Hegarty (2002) summarize recent literature relating to non-visual interfaces. They suggest that, in order to attend to some of this multisensory experience and to provide access to information for individuals with restricted senses, several research threads can be identified for exploring the presentation of information multimodally. For example, information in science and mathematics (such as formulae, equations, and graphs) has been presented through auditory display. Mynatt (1977) has developed a tonal interface that allows users without vision to access Windows-style graphical user interfaces. Multimodal interfaces are usually developed for specialist situations where external vision is not necessarily available, such as for piloting and operating military aircraft (Cohen and Wenzel 1995; Cohen and Oviatt 1995; Rhyne and Wolf 1993). Yeung (1980) showed that seven chemistry variables could be presented through abstract sound and reported a 90% correct classification rate prior to training and a 98% correct response rate after training. Lunney and Morrison (1981) have shown that sound graphs can convey scientific data to visually impaired students. Sound graphs have also been compared to equivalent tactual graphs; for example, Mansur et al. Recent research has represented graphs by combining sound and brailled images with the mathematical formula for each graph being verbally presented while a user reads the brailled shape. Researchers have investigated navigating the Internet World Wide Web through audio (Albers 1996; Metois and Back 1996) and as a tool to access the structure of a document (Portigal and Carey 1994). Data sonification has been used to investigate the structure of multivariate and geometric data (Axen and Choi 1994; Axen and Choi 1996; Flowers et al. But while hardware and software developments have shown "proof of concept," there appear to be few successful implementations of the results for 126 B. Expanding Human Cognition and Communication general use (except for some gaming contexts) and no conclusive behavioral experiments to evaluate the ability of the general public or specialty groups. Such developments could · enhance the process of spatial learning by earlier development of the ability to reason abstractly or to more readily comprehend metric and nonmetric relations in simple and complex environments assist learning by discovering the biotechnological signatures of phenomena and discovering the place cells where different kinds of information are stored, and in this way enhance the encoding and storage of sensed information where functional loss in the brain occurs. Representations of the geographic world (maps, charts, models, graphs, images, tables, and pictures) have the potential to provide a rich array of information about the modern world. Learning from spatialized representations provides insights into layout, association, adjacency, and other spatial characteristics that are not provided by other learning modes. Humans engage nearly all of their sensory modalities when traversing or experiencing space. Given the dominance of computer platforms for representing information and the overwhelming use of flat screens to display such information, there is reason to believe that multimodal representations may not be possible until alternatives to 2-D screen surfaces have been developed for everyday use. The reasons for moving · Converging Technologies for Improving Human Performance 127 beyond visualization on flat screens are compelling and are elaborated on later in this chapter. To enhance sensory and cognitive capabilities, a functional change in the way we encode information, store it, decode it, represent it, and use it may be needed. Much of the effort in Information Technology has been directed towards developing bigger and bigger databases that can be used on smaller and smaller computers. From satellites above we get terabytes of data (digitized records of the occurrence of phenomena), and we have perhaps outgrown our ability to examine this data. The question arises as to how we can exploit human perception and cognition to best help in this process, and the answer is to find out more about these processes so that they can be enhanced. Examples of questions to be pursued include the following: · · How can we enhance the sensory and cognitive aspects of human wayfinding for use in navigating in cyberspace? What particular sensory and cognitive capabilities are used in the field, and how do we enhance them for more effective fieldwork with wearable and mobile computers. How do we solve problems of filtering information for purposes of representation and analysis. How do we solve the problem of resolution, particularly on the tiny screens typical of wearable and field computers?

Whereas Pierre finds himself confused by "speechless thoughts" or an inability to translate preexisting cognitions into words, Isabel attributes her own "bewilderings" to a form of thoughtless speech, or to the fact that, for her, language precedes all conscious activity: "I never affect any thoughts. This capacity is strangely described in terms of the ability to differentiate persons from rocks. As Isabel puts it, "This beautiful infant first brought me to my own mind, as it were; first made me sensible that I was different from stones. Beside that one obscure and minute point of contact, the whole enormous and most ponderous mass touched not another object in the wide terraqueous world. One broad haunched end hovered within an inch of the soil, all along to the point of teetering contact; but yet touched not the soil. The stone is also linked to male authority-figures associated with the New World and its "discovery": Columbus and Captain Kidd. Given this superabundance of mythic patriarchs, an explicit congruence is established between the "ponderous mass" Pierre apostrophizes and the massive rock formation to which Melville dedicates his novel: "The majestic mountain Greylock-my own more immediate sovereign lord and king. Ages thou hast waited; and if these things be thus, then wait no more; for whom better canst thou crush than him who now lies here invoking thee? He could not see; through instinctively putting his hand to his eyes, he seemed to feel that the lids were open. Then he was sensible of a combined blindness, and vertigo, and staggering; before his eyes a million green meteors danced; he felt his foot tottering. If "the very termination -ness" marks "the projection of feeling into an object," as I. He had abused them so recklessly, that now they absolutely refused to look on paper. It is precisely this state of mind, one defined by an aversive trajectory arising specifically from a struggle between male subject and text, that engenders the Enceladus fantasy: "Again the pupils of his eyes rolled away from him in their orbits: and now a general and nameless torpor. The actual artificial objects around him slid from him, and were replaced by a baseless yet most imposing spectacle of natural scenery. It was the phantasmagoria of the Mount of the Titans, a singular height standing quite detached in a wide solitude not far from the grand range of dark blue hills encircling his ancestral manor. Within the dream, Pierre explicitly identifies himself with Enceladus, another anthropomorphic stone named after the mythological son of Titan. This stone is described as being hurled from the sides of the patriarchal mountain and lying "shamefully recumbent at its base" (P, 346). Scattered among other "recumbent sphinx-like shapes thrown off the rocky steep," the "American Enceladus" that Pierre confronts in his trance becomes a mirror image of himself: "`Enceladus! With trembling frame he started from his chair, and woke from that ideal horror to all his actual grief" (346). Here the two "stones" from Saddle Meadows, the American Enceladus and the anxious pierre, are explicitly conflated. Greimas and Fontanille go so far as to suggest that anxiety presents a case of pure "phoria" prior to its polarization into euphoria and dysphoria, as a neutral "protensivity" or "soft chaos of nonarticulated tensions. Anxiety nonetheless comes to assume its prominent role in structuring the "philosophically stylized" quests for truth, knowledge, and masculine agency featured in Pierre, Vertigo, and Being and Time precisely as a way of rescuing the intellectual from his potential absorption in sites of asignificance or negativity. Moreover, the fantasy of thrownness central to each representation of anxiety en- anxiety. Sometimes one has to know of some one the whole history in them, the whole history of their living to know the stupid being of them. What [Tod] had taken for long strings were really one thick word and not a sentence. Using this key he was able to arrange a part of what he had heard so that it made the usual kind of sense" (144). To use terms Gilles Deleuze adapts from John Duns Scotus, the thirteenth-century phi- 250. Which is to say he discovers that it challenges his own capacity to interpret or respond to it in conventional ways. When I wrote the Making of Americans I tried to break down this essential combination by making enormously long sentences that would be as long as the longest paragraph and so to see if there was really and truly this essential difference between paragraphs and sentences, if one went far enough with this thing with making the sentences long enough to be as long as any paragraph and so producing in them the balance of a paragraph not a balance of a sentence, because of course the balance of a paragraph is not the same balance as the balance of a sentence.

Natural experiment Naturally occurring circumstances in which different populations are exposed or not exposed to a potential causal factor or intervention such that the circumstances resemble a true experiment in which study participants may be assigned to exposed or unexposed groups. Objective A statement of movement in an indicator toward a quantitative target usually by a specified time. Outcomes the changes that result from inputs, activities, and outputs to support evaluation efforts. Depending on the nature of the activities and outputs achieved, an outcome can be short term, intermediate term, or long term. In this report outcomes include improved evaluation and surveillance capacities needed to understand and improve progress in obesity prevention and improved population health and equity. Outputs the direct products of activities; usually a tangible deliverable produced as a result of an activity. In this report, outputs related to improved evaluation and surveillance include identification of core objectives and measures and recommendation and guidance on methods and protocols for surveillance and evaluation. Policy monitoring (policy health law) the ongoing, systematic collection, analysis, interpretation, and dissemination of information about a given body of public health law and policy. Policy surveillance Reports on individual policy measures without linking to prior policy action. Population dose the product of penetration (reach divided by the size of the target population) and effect size (relative change in behavior for each person exposed). Prevalence the number of instances of a condition or a disease in a population at a designated point of time; usually expressed as a percentage of the total population. Simple rules In systems science, simple rules provide guidance for "decisions" about how best to adapt to changes in the environment. Simple rules are used to look retrospectively and to plan prospectively for increasing cohesiveness across an organization or among a group of individuals. Evaluating Obesity Prevention Efforts: A Plan for Measuring Progress Summative evaluation the effort (experimental or quasi-experimental controls or designs) to detect changes in output, outcomes, and impacts associated with interventions and attribute those changes to the interventions. Surveillance the ongoing systematic collection, analysis, and interpretation of data tracked over time to detect patterns, disparities, and changes that may be associated with interventions. System A set of elements or parts that is coherently organized and interconnected in a pattern or structure that produces a characteristic set of behaviors, often classified as its "function" or "purpose. A systems approach involves awareness of the wider context, an appreciation for interactions among different components, and transdisciplinary thinking. It acknowledges that individuals and families are embedded within broader social, political, and economic systems that shape behaviors and constrain access to resources necessary to maintain health. Systems theory An interdisciplinary theory that requires a merging of multiple perspectives and sources of information and deals with complex systems in technology, society, and science. Systems thinking An iterative learning process in which one takes a broad, holistic, long-term perspective on the world and examines the linkages and interactions among its elements. Evaluating Obesity Prevention Efforts: A Plan for Measuring Progress Copyright © National Academy of Sciences. The Committee devised these principles to serve two aims: (1) to guide its deliberations and development of the national- and community-level evaluation plans and (2) to provide guidance to evaluators who will implement the national and community plans in their own settings. Recognizing that each evaluation is subject to its own unique context, constraints, and resources, the principles described below are intended to be suggestive. For each principle, the Committee has provided a plain language definition along with examples of end-user questions to help evaluators to interpret the relevance of a given principle for consideration when (1) identifying indicators of progress, (2) choosing appropriate evaluation processes, and (3) making decisions in regard to evaluating obesity prevention efforts. Accuracy is derived from both reliability (replicability), which is the consistency of an indicator/measure to yield similar results under varying conditions, and validity, which is the extent to which an indicator/measure directly and without error represents a specific concept, construct, or variable. Validity includes internal validity, or the minimization of bias, and external validity, which is the extent to which evaluation findings can be generalized to broader and more diverse populations. Accuracy also encompasses the terms sensitivity, which is the proportion of true positives for a condition or indicator assessed by the measure relative to all those who have the condition or indicator, and specificity, which is the proportion of true negatives for a condition or indicator assessed by the measure relative to all those who do not have the condition or indicator. Examples of end-user questions: Does the information collected accurately represent what is being measured. Does the information collected reflect the same results under different circumstances and across time periods.