If you're interested in Plato, you're reading the wrong book. If you're interested in difficult childhoods, sexual misadventures, aesthetics, cultural history, and the reasons that a club sandwich and other meals--including breakfast--have remained in the memory of the present writer, keep reading. --from Feelings Are Facts In this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts(the title comes from a dictum by Rainer's one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America. Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham (and heard Graham declare, "when you accept yourself as a woman, you will have turn-out"--that is, achieve proper ballet position) and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theater in 1962 (dancing with Trisha Brown, Steve Paxton, David Gordon, and Lucinda Childs), hobnobbed with New York artists including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and anti-war causes in the 1970s and 1980s. Rainer writes about how she constructed her dances--including The Mind Is a Muscleand its famous section, Trio A, as well as the recent After Many a Summer Dies the Swan--and about turning from dance to film and back to dance. And she writes about meeting her longtime partner Martha Gever and discovering the pleasures of domestic life. The mosaic-like construction of Feelings Are Factsrecalls the composition-by-juxtaposition of Rainer's work in film and dance, displaying prismatic variations from what she calls her "reckless past" for our amazement and appreciation.

A lot has changed since 2015, and Ben Shapiro has something to say about it. In this curated sequel to “Facts Don’t Care About Your Feelings,” Shapiro breaks down American politics from 2015 to today like you’ve never seen before. Review political dog fights and the Democrats’ radicalism problem through a poignant lens. Analyze the novel coronavirus and its economic implications through a perspective too often stamped out by the mainstream media. Explore the absurdities of “anti-racism,” “mostly peaceful” protests and other leftist attempts to rewrite America. And discover pieces of the American identity—unity, free speech, capitalism and so much more—we have lost in the mayhem.

The history of emotions has gained more and more scholarly attention, evidenced by an 'affective turn' or 'emotional turn' in historical research. Many publications have appeared, and internationally oriented research centres and conferences have been set up and organized. This volume brings the importance of a clear understanding of historical feelings into the research area of art historians. Even though the depiction of emotions is an important discipline in its own right, in this volume the concept of the artist and his or her own personal feelings, often in connection with the creation of a work of art, is prioritised. Although it is argued that a painter had to be able to feel emotions in order to depict them correctly, the articles brought together in this volume focus primarily on the traces of artist's emotions (feelings) that can be derived from archival documents, secondary sources, and paintings (facts). Each author has tried in his or her own way to elucidate both the written and visual expressions of an artist's (personal) emotions.

Preeminent psychologist Lisa Barrett lays out how the brain constructs emotions in a way that could revolutionize psychology, health care, the legal system, and our understanding of the human mind. “Fascinating . . . A thought-provoking journey into emotion science.”—The Wall Street Journal “A singular book, remarkable for the freshness of its ideas and the boldness and clarity with which they are presented.”—Scientific American “A brilliant and original book on the science of emotion, by the deepest thinker about this topic since Darwin.”—Daniel Gilbert, best-selling author of Stumbling on Happiness The science of emotion is in the midst of a revolution on par with the discovery of relativity in physics and natural selection in biology. Leading the charge is psychologist and neuroscientist Lisa Feldman Barrett, whose research overturns the long-standing belief that emotions are automatic, universal, and hardwired in different brain regions. Instead, Barrett shows, we construct each instance of emotion through a unique interplay of brain, body, and culture. A lucid report from the cutting edge of emotion science, How Emotions Are Made reveals the profound real-world consequences of this breakthrough for everything from neuroscience and medicine to the legal system and even national security, laying bare the immense implications of our latest and most intimate scientific revolution.

Prepare for a Bumpy Ride. Many of our ideas about the world are based more on feelings than facts, sensibilities than science, and rage than reality. We gravitate toward ideas that make us feel comfortable in areas such as religion, politics, philosophy, social justice, love and sex, humanity, and morality. We avoid ideas that make us feel uncomfortable. This avoidance is a largely unconscious process that affects our judgment and gets in the way of our ability to reach rational and reasonable conclusions. By understanding how our mind works in this area, we can start embracing uncomfortable ideas and be better informed, be more understanding of others, and make better decisions in all areas of life. Some uncomfortable ideas entertained in this book: - Political correctness can be harmful - Identity politics is a dangerous game - Morality is functionally democratic - Victims often do share some of the responsibility - God is a far more horrifying character than Satan - There is no such thing as freewill - Americans are manipulated into being pro-war - Non-whites can be racist, and women can be sexist - Some people do "choose to be gay" - Sometimes the bad guys win - Obese people are not perfect the way they are - It's okay to find inappropriate jokes funny Facts don't care about feelings. Science isn't concerned about sensibilities. And reality couldn't care less about rage. ⭐⭐⭐⭐⭐ "A bumpy ride indeed. Whether one agrees or disagrees with the content, it still manages to make one think critically about certain things, and that is always a good thing. What's more, it is being presented in a non-threatening, clear, balanced, and objective way. A great way to tackle uncomfortable ideas." ⭐⭐⭐⭐⭐ "Very eye-opening. Making us question the things that make them uncomfortable and why, is what we all need. Love it!"

With stop-and-frisk laws, new immigration policies, and cuts to social welfare programs, majorities in the United States have increasingly supported intensified forms of punishment and marginalization against Black, Latino, Arab and Muslim people in the United States, even as a majority of citizens claim to support "colorblindness" and racial equality. With this book, Paula Ioanide examines how emotion has prominently figured into these contemporary expressions of racial discrimination and violence. How U.S. publics dominantly feel about crime, terrorism, welfare, and immigration often seems to trump whatever facts and evidence say about these politicized matters. Though four case studies—the police brutality case of Abner Louima; the exposure of torture at Abu Ghraib; the demolition of New Orleans public housing units following Hurricane Katrina; and a proposed municipal ordinance to deny housing to undocumented immigrants in Escondido, CA—Ioanide shows how racial fears are perpetuated, and how these widespread fears have played a central role in justifying the expansion of our military and prison system and the ongoing divestment from social welfare. But Ioanide also argues that within each of these cases there is opportunity for new mobilizations, for ethical witnessing: we must also popularize desires for justice and increase people's receptivity to the testimonies of the oppressed by reorganizing embodied and unconscious structures of feeling.