A fundamental challenge confronting modern organizations is to rationalize the affectivity of their members. In contrast to the 19th century, when communication in private settings was largely devoid of emotional content, the current era is characterized by a notable shift toward the incorporation of emotional elements in public discourse. This transformation is unfolding against the background of the ongoing evolution of modern organizations, with the processes of digitization and structural-automation contributing to this shift. The renewed emphasis on emotional semantics is facilitated by these developments—made possible by the fact that they facilitate the experience of the potential future obsolescence of humans as a source of crises. The concept of emotional semantics is currently being discussed in economic discourse, political debate, and in the context of management and leadership. Modern organizations mandate that their members manage their emotions through an organizational culture that fosters reflective communication through empathy. However, an understanding of this process can only be achieved through an examination of historical evidence. The article posits that organizations serve as pivotal actors in the domain of emotion management. Situated at the nexus of historical educational considerations, this perspective offers a nuanced interpretation of the historical evolution of organizational control ambitions. These ambitions have been catalyzed by contemporary trends, such as digitization and the integration of artificial intelligence and have undergone a progressive transformation over time. By sensitizing to the interplay of personal-psychic, institutional and organizational orders, the conceptual instruments for describing a history of emotions become more nuanced. This is demonstrated in the article through the analysis of specific organizational forms, which exemplify a parallel evolution within modern organizational society. Perspectives and discourses in organizational research provide novel approaches to the history of education by considering the organized nature of emotional phenomena. In this regard, the objective of the article is to provide impetus for the field of emotion-sensitive organization and management research which addresses questions pertaining to the transformation of organizations and their historical lines of continuity.

Background: Chronic low back pain (CLBP) is prevalent and a multimodal therapy is indicated, including psychological treatment. Effective conventional treatments involve psychoeducation and mindfulness-based body scans, while virtual reality offers superior but temporary pain relief. Augmented Reality (AR), which combines conventional and virtual methods, is a novel therapeutic strategy. Methods: We investigated the viability and acceptability of an AR intervention for CLBP by incorporating psychoeducation and mindfulness-based body scan techniques. 40 participants in two studies with a one-arm design underwent an educational AR intervention (Study I, n1 = 18) and an enhanced version with an additional body scan (Study II, n2 = 22). The studies focused on evaluating technical feasibility and multiple facets of user experience. Results: The results demonstrated high feasibility with low dropout rates (Study I: 10%, Study II: 0%). User experience ratings ranged from “Above Average” to “Excellent,” with the advanced intervention receiving higher ratings. While Study I showed no significant changes in affect pre- vs. post-intervention, Study II exhibited a significant reduction in negative affect and improved valence. Qualitative analysis provided insights into technical requirements and user perceptions. Discussion: The AR prototype emerges as a promising psychoeducational tool for CLBP, aligning with current treatment guidelines and providing a basis for future controlled clinical trials. Limitations include the absence of a high-pain intervention group, as Study I reported a pain intensity of M = 1.05 and Study II reported M = 1.77 (Range: 0–10). Further research such as clinical trials with control groups is required to validate the efficacy of the piloted approach. The AR-based psychoeducation and mindfulness body scan intervention for CLBP demonstrated technical feasibility and a good user experience.

Sea-ice leads play a key role in the climate system by facilitating heat and moisture exchanges between the ocean and atmosphere, as well as by providing essential habitats for marine life. This study presents new insights from a gap-filled monthly dataset on sea-ice leads in the Southern Ocean and a first comprehensive analysis of spatial patterns, seasonal variability, and long-term trends of wintertime (April to September) sea-ice leads over a 21-year period (2003–2023). Our findings reveal that leads are ubiquitous in the Southern Ocean and show distinct spatial patterns with maximum lead frequencies close to the coastline, over the shelf break, and close to seafloor ridges and peaks. We see a strong seasonal variability in lead occurrence, with lead frequencies peaking in mid-winter. Weak but significant trends in lead frequencies are shown for the presented period for individual regions and months. Rather small changes in lead occurrence over the 21 years suggest stable wintertime sea-ice compactness despite the observed strong fluctuations and recent anomalies in sea-ice extent. Expanding upon previous work of lead detection in Antarctic sea ice, this study provides first results on the long-term regional, seasonal, and inter-annual variability of sea-ice leads in the Southern Ocean and can thereby contribute to an improved understanding of air–sea-ice–ocean interactions in the climate system. It also underscores the need for further investigation into the individual contributions of atmospheric and oceanic drivers to sea-ice lead formation in the Antarctic.

This article interprets Novalis' expression of spirit (Geist) across his oeuvre, ranging from his early work "On Inspiration" to his major novels "The Novices of Sais" and "Heinrich von Ofterdingen". His view of the world is based on the Christian dichotomy between "the spirit and the letter" (,,Geist und Buchstabe") and in his works he considers how we might once again achieve the spirit of nature through human written language. However, even the act of inspiration is for him not a total exchange with the spirit of nature, because it is also a moment of producing artwork, and therefore a moment of division between the human and nature. He therefore attempts to reproduce the ideal unity between nature and the human through the representation of atmosphere, which is composed of harmony between several voices in the world as well as various dimensions of times and spaces. This article interprets the above representation as a poetic experiment that seeks to express the spirit through an internally diverse written language, in other words, as an attempt to describe unity as a plurality.

Johannes Kepler's thinking represents a central turning point in the development of the modern understanding of atmosphere. Kepler takes up the ancient conception of the cosmos as a whole divided into living and animated spheres, but reshapes it using specifically modern scientific and epistemological approaches. This gives rise to a view of the Earth as an animated organism, which prefigures modern concepts of atmosphere against the background of a comprehensive vitality of nature. Furthermore, Kepler's embedding of his reflections in the context of astrological prognostics enriches the modern aesthetic discussion with a remarkable perspective: prognostic, i.e. temporal, perception of atmosphere.

The carbuncle as a Christological symbol of atmosphere in Nicholas of Cusa - with reference to the late antique and medieval gemstone allegory. In his De non aliud, Nicholas of Cusa applies the carbuncle as a Christological aenigma, which can be understood as an exemplary object of atmosphere due to its dual nature of light substance and mineral substance. The article will show that the meaning of the carbuncle image as the epistemological method is so closely linked to the character and form of thought in De non alud that an examination of the meaning of the carbuncle in its historical allegory contributes to the question of image theory in Cusanus. By that the question is answered to which extent this far-reaching meaning of the carbuncle can shed light on the anagogic dimension of the perception of atmosphere.

The article discusses “SimStab” [Simulator of Stability], a poetic performance by a young Russian poet, Rostislav Amelin, as an effective hybrid of the innovative poetry, video game, and the cyberpunk genre models. The interaction of these components produces strong, yet not necessarily obvious political over-tones, testing the limits of the audience’s (or readers’, or players’) agency. Like many other cyberpunk texts, “SimStab” explores the conflict between the desire to resist colonization by the pervasive powers dominating contemporary society, and the absolute necessity of willingly colonizing your own body and subjectivity with the products of these powers. Both the poem, game and their shared text embody spaces of utopia reliant on repressed sites of formless abjection, which paradoxically become a source of anarchic freedom. Thus, in “SimStab” the ludic algorithmic with its procedural rhetoric (Ian Bogost) creates spaces of formlessness which repeats the liberatory promise of cyberpunk literature.

The article considers the circulation and the role of the motifs China, the Chinese man/woman and the Chinese as concepts of the other/strange(r), which negatively correspond to the concepts of the self in the work of the Russian poet, writer, artist and producer of performances Dmitrij Prigov. These phenomena and their historical development are of special interest in the present context of the Russian war against Ukraine, the Western sanctions against Russia and the growing political, economic and military approximation of Russia to China. In its analytic design the article discerns in Prigov’s China-text a broader geo-esthetical from a smaller geo-poetical horizon and distinguishes the theme- and sense-orientated phenomenon of stereotype, reducing (the concept of) a culture or a nation to special, often discrediting it, semantic features (as topoi), from the phenomenon of the imagotype, which is orientated to the poetical and/or esthetical construction of an artifact and relates the specialty of the other to certain sounds, intonations, colors, textures. Reconstructing the development of the motifs of China, the Chinese man/woman and the Chinese in Prigov’s China-text from the 1970s up to the posthumously in 2013 published novel “Katia, the Chinese”, the article shows that the evolution of the imagotypes and stereotypes of China, the Chinese man / woman and the Chinese as concepts of the other/alien is correlated with the development of the geopolitical relation of Russia and China.

This article considers the evolution of poetic performance on the basis of several Russian poets of the 2010s. The type of performance in question, which originally implied active absorption in the poetic text, occupied an important place in Russian art of the twentieth century – from the first experiments of the historical avant-garde to Moscow Conceptualism (above all, in the their “Collective Actions”). As such, it has always maintained a closeness to the poetic work and was most often practiced by poets who sought to extend their texts beyond the space of the page and into the “external” world. In the 2010s, however, with the development of social media, the opposite trend is noticeable – poets, while declaring their connection to the performative traditions of Moscow Conceptualism, transfer their performative activity into a textual space organized by social media platforms. The central hypothesis of this article is that all of these poets react differently to the methods of discursive organization provided (and enforced) by social networks and strive in different ways to liberate themselves from the censorship of the algorithm: some emphasize the discursive incoherence of the platform, while others, on the contrary, seek to develop a sustainable manner of uniting private discourses into a new totality.

As an object, the last three books of N. Romanova’s poems are considered: “Atrocity” («Зверство»), “Cannibalism” («Людоедство» –both 2015), “Textbook of literature for morons” («Учебник литературы для придурков», 2019). Her works can be attributed to the St. Petersburg branch of the counterculture. Performative, transgressive “trash poetry” of Romanova is a speech gesture of illocutionary nature. Her “offensive art” violates the norms of decency, common sense, tolerance, and poetic canon. The texts are built as a collage of fragments of discursive practices: fake news, ideological clichés, allusions to the classics, youth jargon of hipsters, vulgarisms and obscene vocabulary. Romanova’s poetry demonstrates the devastation of cultural signs, the grotesque idiocy of the overwhelming mass of consumer society.