FORCE 7F MUSIC
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FORCE 7F MUSIC
FORCE 7F HISTORY CAMPAIGN one day | one pic | one message.
Abstract
Intelligence and emotions differentiate humans from animals. Emotion is part of a persons behaviour and certain feelings can affect his/her performance, emotions can even prevent a person from producing an intelligent outcome. Therefore, when a computer aims to emulate human behaviour, not only should this computer think and reason, but it should also be able to show emotions. This paper presents a review of recent research that shows the importance of the emotions in human intelligence. This paper also presents the research that has been carried out into the incorporation of emotions to intelligent systems, how a computer can show affections and how to create intelligent agents that show emotions to other agents that communicate with them in the same environment.
Music stimulates the development of emotional intelligence, since music plays a role in the maturation process of the right hemisphere of the brain. Music may also affect the left hemisphere because of the complex ways in which the two hemispheres are connected.
Listening to music is a form of affective communication that provides both an intellectual, but more importantly, emotional experience. Feelings are subjective experiences shared by all people. Beginning in early childhood, the ability to feel, as well as the abilities to appreciate and evaluate the significance of each interaction with the environment may also be stimulated through music.
how music can influence emotional intelligence
The little emotions are the captains of our lives, and we obey them without realizing it. – Vincent Van Gogh
Music presents an emotional encounter through the medium of sound. Music evokes emotion and emotion affects physiological change. Consequently music has the power to change us not only mentally but also physically. The core of individuality is based on one’s unique set of emotions. This is why the world’s most popular leisure activity is listening to music, for, in a powerful way music reveals to us our inner self. Hence, music education plays a special role in enhancing emotional intelligence, providing another advocacy opportunity for music educatorsWhy is this so important in our case?
• Studies show that our emotions are the most powerful factors in determining how we behave and make decisions
• People need some kind of emotional attachment and emotional reactionHowever, having inner EI is not enough, we should know how to project our EI.
The following Matrix is what I came withInner World: 1. Emotional Awareness --> 2. Emotional Management
Outer World: 1. Empathy --> 2. Social intelligence.
The components can also be ordered in steps
1. Emotional Awareness: becoming conscious of what you are feeling (e.g Understand the source of your fears to give presentation)
2. Emotional Management: Become self-control (e.g know how to eliminate your fears, relax, study and do it anyway)
3. Empathy : being sensitive to the emotions needed by others (e.g Understand crowd needs for genuine, informative, funny and confident presentation)
4. Social intelligence: negotiate with other people emotionally (e.g Be present, emotionally resilient and unattached of results, engage the crowd)The good news is that emotional intelligence is a learnt activity, especially through our on experience and constant interaction with others.
1. Emotional Awareness: becoming conscious of what you are feeling (e.g Understand the source of your fears to give presentation)
2. Emotional Management: Become self-control (e.g know how to eliminate your fears, relax, study and do it anyway)
3. Empathy : being sensitive to the emotions needed by others (e.g Understand crowd needs for genuine, informative, funny and confident presentation)
4. Social intelligence: negotiate with other people emotionally (e.g Be present, emotionally resilient and unattached of results, engage the crowd)The good news is that emotional intelligence is a learnt activity, especially through our on experience and constant interaction with others.
GHETTO BEATS THEORY
-Functional perspectives on emotion suggest that affective re- sponses help individuals to adapt to and navigate the social envi- ronment.
-Music listening is one of the most enigmatic of human behaviors. Most common behaviors have a recognizable utility that can be plausibly traced to the practical motives of survival and procreation. Moreover, in the array of seemingly odd behaviors, few behaviors match music for commandeering so much time, energy, and money. Music listening is one of the most popular leisure activities. Music is a ubiquitous companion to people's everyday lives.
-Many musical functions have been proposed in the research literature. Evolutionary speculations have tended to focus on single-source causes such as music as an indicator of biological fitness, music as a means for social and emotional communication, music as social glue, music as a way of facilitating caretaker mobility, music as a means of tempering anxiety about mortality, music as escapism or transcendental meaning, music as a source of pleasure, and music as a means for passing time.
-As noted earlier, previous research appears to converge on four dimensions: social functions (such as the expression of one's identity or personality), emotional functions (such as the induction of positive feelings), cognitive or self-related functions (such as escapism), and arousal-related functions (such as calming down or passing time). These four dimensions might well account for the basic ways in which people use music in their daily lives.
Since the earliest writing on the psychology of music, researchers have been concerned with the many ways in which people use music in their lives. In the first part of this paper, we reviewed literature spanning psychological, musicological, biological, and anthropological perspectives on musical function. The picture that emerged from our review was somewhat confusing. Surveying the literature from the past 50 years, we identified more than 500 purported functions for music. From this list, we assembled a somewhat catholic list of 129 non-redundant musical functions. We then tested the verisimilitude of these posited functions by collecting survey responses from a comparatively large sample. PCA revealed just three distinct dimensions: People listen to music to achieve self-awareness, social relatedness, and arousal and mood regulation. We propose calling these the Big Three of music listening.
In part one of our study we noted that several empirical studies suggest grouping musical functions according to four dimensions: cognitive, emotional, social/cultural, and physiological/arousal-related functions. This raises the question of how our three-dimensional result might be reconciled with the earlier work. We propose that there is a rather straightforward interpretation that allows the four-dimensional perspective to be understood within our three-dimensional result. Cognitive functions are captured by the first dimension (self-awareness); social/cultural functions are captured by the second dimensions (social relatedness); physiological/arousal-related functions are captured by the third dimension (arousal and mood regulation); and emotional functions are captured by the first and third dimensions (self-awareness + arousal and mood regulation). Notably—as can be seen with the items in Table —there is a dissociation of emotion-related and mood-related functions. Emotions clearly appear in the first dimension (e.g., music conveys feelings; music can lighten my mood; music helps me better understand my thoughts and emotions), indicating that they might play an important role in achieving self-awareness, probably in terms of identity formation and self-perception, respectively. However, the regulation of moods clearly appears in the third dimension (e.g., music makes me cheerful; music can enhance my mood; I'm less bored when I listen to music), suggesting that moods are not central issues pertaining to identity. Along with the maintenance of a pleasant level of physiological arousal, the maintenance of pleasant moods is an effect of music that might rather be utilized as a “background” strategy, that is, not requiring a deep or aware involvement in the music. The regulation of emotions, on the other side, could be a much more conscious strategy requiring deliberate attention and devotion to the music. Music psychology so far has not made a clear distinction between music-related moods and emotions; and the several conceptions of music-related affect remain contentious (see Hunter and Schellenberg, 2010). Our results appear to call for a clearer distinction between moods and emotions in music psychology research.
As noted earlier, a presumed evolutionary origin for music need not be reflected in modern responses to music. Nevertheless, it is plausible that continuities exist between modern responses and possible archaic functions. Hence, the functions apparent in our study may echo possible evolutionary functions. The three functional dimensions found in our study are compatible with nearly all of the ideas about the potential evolutionary origin of music mentioned in the introduction. The idea that music had evolved as a means for establishing and regulating social cohesion and communication is consistent with the second dimension. The idea of music satisfying the basic human concerns of anxiety avoidance and quest for meaning is consistent with the first dimension. And the notion that the basic function of music could have been to produce dissociation and pleasure in the listener is consistent with the third dimension.
In part one of our study we noted that several empirical studies suggest grouping musical functions according to four dimensions: cognitive, emotional, social/cultural, and physiological/arousal-related functions. This raises the question of how our three-dimensional result might be reconciled with the earlier work. We propose that there is a rather straightforward interpretation that allows the four-dimensional perspective to be understood within our three-dimensional result. Cognitive functions are captured by the first dimension (self-awareness); social/cultural functions are captured by the second dimensions (social relatedness); physiological/arousal-related functions are captured by the third dimension (arousal and mood regulation); and emotional functions are captured by the first and third dimensions (self-awareness + arousal and mood regulation). Notably—as can be seen with the items in Table —there is a dissociation of emotion-related and mood-related functions. Emotions clearly appear in the first dimension (e.g., music conveys feelings; music can lighten my mood; music helps me better understand my thoughts and emotions), indicating that they might play an important role in achieving self-awareness, probably in terms of identity formation and self-perception, respectively. However, the regulation of moods clearly appears in the third dimension (e.g., music makes me cheerful; music can enhance my mood; I'm less bored when I listen to music), suggesting that moods are not central issues pertaining to identity. Along with the maintenance of a pleasant level of physiological arousal, the maintenance of pleasant moods is an effect of music that might rather be utilized as a “background” strategy, that is, not requiring a deep or aware involvement in the music. The regulation of emotions, on the other side, could be a much more conscious strategy requiring deliberate attention and devotion to the music. Music psychology so far has not made a clear distinction between music-related moods and emotions; and the several conceptions of music-related affect remain contentious (see Hunter and Schellenberg, 2010). Our results appear to call for a clearer distinction between moods and emotions in music psychology research.
As noted earlier, a presumed evolutionary origin for music need not be reflected in modern responses to music. Nevertheless, it is plausible that continuities exist between modern responses and possible archaic functions. Hence, the functions apparent in our study may echo possible evolutionary functions. The three functional dimensions found in our study are compatible with nearly all of the ideas about the potential evolutionary origin of music mentioned in the introduction. The idea that music had evolved as a means for establishing and regulating social cohesion and communication is consistent with the second dimension. The idea of music satisfying the basic human concerns of anxiety avoidance and quest for meaning is consistent with the first dimension. And the notion that the basic function of music could have been to produce dissociation and pleasure in the listener is consistent with the third dimension.
OUR MISSION
Intro.
A new movement know as social entrepreneurship emerged globally. The movement is led by a new generation of enterpreneurs dedicated to solving societal problems through innovative, sustainable and scalable business models. The growth of this movement is transforming the behaviour of players from the social public sectors engaging them in cross-sector dialogue and joint initiatives, inspired by social enterpreneurs. Corporations have begun to change their traditional corporate social responsability policies by increasingly engaging in impact initiatives and practices that benefit society.
We can change the world and make it a better place, it is in our hands to make a difference.
A new generation is developing solutions that have the potential to improve lives around the globe, they are driven by the will to solve major societal challanges in a effective way, are relentless in the pursuit of their vision, and will not give up until they have spread their solutions. They are people with a deep desire to help others by developing solutions with positive impact. Resillence, creativity, passion, energy, and optimisum.
Commercial, public and social sector leaders have begun to see social entrepreneurship as a powerful mechanism to create value and are increasingly engaging with social developments innovative actions that benefit society.
The next points in regards to the process of business implementation strategies that we need to develop.
As a music lover and long time social justice activist a question I've long asked myself is this: How can music help in making change happen? Here, I'll share some of my thoughts based on my research and personal experience. Music, as a form of artistic expression has the advantage of being very loud: It attracts attention and influences opinion. It can help in healing in breaking down barriers and borders in reconciling and it can also educate. As a cultural right, music can help to promote and protect other human rights(civil, political, economic or social).
There are many amazing examples of music being used as a tool for social change around the world. In my academic research on this topic, I've focused on the situations that inspire me the most: at the local level - in Belfast, Northern Ireland ( Oh Yeah Music Centre and work of Terri Hooley) and the global level- the engagement of anti- poverty group ONE and human rights organisation Amnesty International.
Our mision is to create a sustainable co-working space for musicians who like to take the rolle of lovers transporters to encourage people to find their inspiration in music instead of taking up weapons, demonstraiting the power of music on the same time we use the LYRICS of musicians to influence Forceselas products for the benefit of society.
Several organisations have caught on to that power and used music as a tool for change. The most inspiring and encouraging example of activist groups involving musicians for me is GHETTO BEATS. The number of artist giving their voice to support Ghetto Beats activities and to push social change is growing every day. Moral problems have only moral solutions not technical solutions the major problem and the first priority should be to reform values and end the idolatrous national worship of economic growth.
Fusion & Diffusion
The Human nervous and muscular systems provide the potential for a infinite variety of personal sensations, conceptions and actions. We bellieve that the world's gratest challanges will never be solved by one person or organization alone, we need to work together that's why we set out to create a thriving innovation ecosytem where people collaborate across organizations to solve the grand challanges of our time. We are inspired by the sustainable development goals as defined by the United Nations.
Next month, the world will agree on a new blueprint to rid extreme poverty from the face of the earth. For all of us who love music and want to show our support for this cause, we can make our voices heard. You can get involved with Ghetto Beats at MANIFESTA 12 PALERMO
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