Action control theories assume that stimulus and response features are integrated or bound into short term episodic traces. A repetition of any of these features results in a retrieval of the entire episodic trace, and can thus facilitate or interfere with future actions. Along with stimuli features, features of the response and any other irrelevant stimuli that are present, are also integrated into such traces and can influence future actions. Using word stimuli, Singh et al. (2018) observed that such so-called binding effects are larger for attended features relative to unattended features. This was the case even for features generally believed to be automatically processed, like valence. Since previous research has shown differences in the processing of word and picture stimuli, it is questionable whether the attentional modulations in the above study would extend to picture stimuli. In order to examine this question, Experiment 1 replicated the design of Singh et al. (2018) but used picture instead of word stimuli. In order to directly compare word and picture stimuli, the data of Singh et al (2018) were re-analysed together with the data of the present study. In Experiment 2, the alternative hypothesis, that the effects were driven by the encoding of stimulus contingencies, was tested. Taken together, the findings of the present study replicate those of Singh et al. (2018), indicating that even with picture stimuli, valence related binding effects are modulated by attention allocation.

Figural matrices are widely used to measure reasoning ability. According to the two-process model of figural matrix reasoning, task performance relies on correspondence finding (linked to induction ability) and goal management (linked to working memory). Cognitive theory suggests that item characteristics (i.e., change rules and design principles of figural elements) are related to the two solution processes and impact item difficulties in a multiplicative, interactive manner. This study tested the multiplicative effect hypothesis by comparing two cognitive diagnostic models using additive and multiplicative effect estimations. A 26-item figural matrix test was administered to 633 high-ability individuals across paper-and-pencil and computer formats. The linear logistic test model (LLTM) and least square distance method (LSDM) were applied to Rasch and 2PL item parameters. Contrary to the multiplicative effect hypothesis, the additive LLTM model showed better item parameter reconstruction than the LSDM that includes multiplicative effects. These results suggest that change rules and design principles may independently contribute to the difficulty of figural matrices. Correspondence-finding demands may primarily arise from design principles, while change rules may primarily contribute to difficulty through goal management demands based on their number and complexity. The findings highlight the need to consider item components related to the phenomenological representation of figural elements when explaining solution processes of figural matrices. Implications for cognitive theory and item construction are discussed.

The role of evolutionary and ecological processes with regard to the bauplan of anuran larvae remains little understood. We studied tadpoles of 144 lentic or lotic taxa in 22 families from seven zoogeographic regions. Using stacked high-resolution images, standardized examination of 30 morphological characters of preserved tadpoles (of body, tail, oral disc) were scored and compared to the impact of phylogenetic signal (multiple nuclear and mitochondrial markers) and macro-climate. Additionally, larvae were characterized as living in a lentic versus lotic environment and if nutrition specialist or not. Categorical Principal Component Analysis, distance matrices and pairwise correlation analyses were performed. Our results suggest that phylogeny has a higher impact on the morphology than habitat (i.e. lentic, lotic), while no effect of macro-climate or food specialization was found. We emphasize the value of highly standardized morphological data when investigating the influence of different factors of phenotypic variation.

Process-behavioural hydrological modelling aims not only at predicting the discharge of an area within a model, but also at understanding and correctly depicting the underlying hydrological processes. Here, we present a new approach for the calibration and evaluation of water balance models, exemplarily applied to the Riverisbach catchment in Rhineland-Palatinate, Germany. For our approach, we used the behavioural model WaSiM. The first calibration step is the adjustment of the evapotranspiration (ETa) parameters based on MODIS evapotranspiration data. This aims at providing correct evapotranspiration behaviour of the model and at closing the water balance at the gauging station. In the second step, geometry and transmissivity of the aquifer are determined using the characteristic delay curve (CDC). The portion of groundwater recharge was calibrated using the delayed flow index (DFI). In the third step, inappropriate pedotransfer functions (PTFs) could be filtered out by comparing dominant runoff process patterns under a synthetic precipitation event with a soil hydrological reference map. Then, the discharge peaks were adjusted based on so-called signature indices. This ensured a correct depiction of high-flow volume in the model. Finally, the overall model performance was determined using signature indices and efficiency measures. The results show a very good model fit with values of 0.87 for the NSE (Nash–Sutcliffe model efficiency coefficient) and 0.89 for the KGE (Kling–Gupta efficiency) in the calibration period, as well as an NSE of 0.78 and a KGE of 0.87 for the validation period. Simultaneously, our calibration approach ensured a correct depiction of the underlying processes (groundwater behaviour, runoff patterns). We were also able to detect the model parameterisations based on the PTFs that showed satisfactory results across all calibration steps. This enables a targeted selection of the most suitable PTFs for determining the soil properties. This means that our calibration approach allows selecting a process-behaviourally faithful one from many possible parameterisation variants.

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.

This text is a free and intradiegetic interpretation of what took place at dusk on the 15th of February in the city of Giessen, in the German federated state of Hesse, at one of the last conferences of Slavists on the very brink of the pandemic era.

Metaphorical shifts from one subject area to another are a central structural strategy in Inger Christensen’s work. This principle will be demonstrated and discussed in this paper by referring to the poem “Gopler” [“Jellyfish”] from “lys” [“light”], 1962. The Danish contemporary poet Pia Tafdrup, whose work is influenced by Christensen, also makes use of a distinctive, associative imagery in her pentalogy “De fem sanser” [“The Five Senses”] (2014–2022). This paper contrastively explores the ways in which metaphorical shifts function in Christensen’s and Tafdrup’s poetry. Christensen realizes the metaphors’ potential in a radical way through the semantic superimposition of different subject areas. Thus, the regularities of the designed world are solely valid within linguistic structures, opening up new spaces of cognitive experience. In Tafdrup’s work, the texts’ different levels of meaning tend to remain separable. Here, the focus is on an associative technique of erratic and surprising transmissions, often applied to the external and the internal in a way that the cutting conciseness of the poems touch the reader almost sensually.

Inger Christensen’s alfabet is one of the most formative contributions in Danish eco-poetry that also initiates a broad reception of Christensen’s œuvre in German literature. Besides the ecocritical tendencies the text establishes a self-referential dimension that deals with the relation between a human speaker, its speaking about ‘world’ and its reference. In this regard the text implicitly debates the verbal material and its (connotative) semantics that one has to use. This dimension of alfabet is one of the main linking points for a productive reception by Herta Müller. Especially her collages published in Schreibheft expose the materiality of linguistic signs and speech. In addition to this, the specific constitution of the collages which are made of newspapers and magazines shows that linguistic signs not only refer to a real reference but also (and mainly) to discourses and other prior communicative contexts.

This article investigates selected texts and oral performances by two contemporary authors, Nico Bleutge and Mette Moestrup, who adapt or rewrite Christensen’s poems. In the works focused on (Moestrups poems “My Language” and “Hvad betyder det for sommerfuglen”, Bleutge’s speech “Den Wiederholungen folgen” and the poem “fischhaare finden”), translation plays a central role, and animals (especially winged ones) become a motor for transformational movements between languages and authors. Unsettling the semantic and structural level of language, the named birds and butterflies set loose acoustic dynamics that lead us back to Christensen’s reflections on mortality, contingency, and poetics in her essays.

This essay discusses the relationship between Inger Christensen’s work and contemporary Danish eco-literature. Christensen can seem like a towering predecessor. Yet, the relationship is more complex than a question of anxiety of influence. This essay argues that Christensen and contemporary Danish literature exhibit differing ecological imaginaries, and that this becomes clear when one examines Christensen’s utopian writing, her heliocentric utopianism, of the late seventies and early eighties, and when one examines how ecological threats are depicted in her work. For Christensen, the paradigmatic threat to the world is the nuclear bomb and its excessive use of energy, for today’s literature it is the feedback loops of pollution, exemplified in the threat of climate change.

This article discusses the high regard for Danish poet Inger Christensen in Germany and her connection to the Künstlerhaus [Artists’ Residence] in Edenkoben, located in Rhineland-Palatinate. The Künstlerhaus serves as a cultural institution where international artists from various fields can reside and collaborate. Inger Christensen had strong connections with the Künstlerhaus Edenkoben and participated in its German-Danish poetry project. During her visits to Edenkoben, she wrote several poems. In an essay, the poet described Edenkoben’s landscape as paradise-like. This article, on the one hand, examines these texts in the context of Inger Christensen’s stay in Edenkoben. On the other, it sheds light on “Weg der Gedichte”, a project that stages Inger Christensen’s poem “Erinnerung an Edenkoben” in a public space around the Künstlerhaus, showcasing the role of poetry in rural settings and its ability to enhance the experience of nature and hiking.

In 2016, the Bulgarian poet and philologist Plamen Doynov initiated a poetic project called “The New Political Poetry” (NPP). Doynov presented examples of his new political poems at two readings in 2016 and 2019 and published “fragments of a manifesto” in his poetry collection “The Tyrants’ Ball” (2016). The NPP strives to overcome the trauma of politicized ideological writing in the communist era. This article analyzes Doynov’s NPP project against the background of a general tendency towards political engagement in literature that has recently emerged in Bulgaria as well as elsewhere in Europe and beyond. It posits that Doynov’s New Political Poetry, alongside other literary trends in contemporary Bulgaria, paradoxically addresses the political precisely by returning art to heightened cultural autonomy, and rejects the idea of engagement in a narrower sense.

The essay will compare Pushkin’s “Poltava” (1828) and Ivan Volkov’s “Mazepa” (2014), a counterargument to Pushkin’s text. Volkov’s poem not only demonstrates the topicality of Pushkin’s classic but also reveals the latter’s hidden layers of meaning. Both poems renew the tradition of the verse epic. However, they turn the foundation story, typical for the epic, towards tragedy, focusing on the fall of Ukraine rather than the success of Russia’s imperial gesture. Volkov reverses the dominant perspectives and advances the Ukrainian point of view, while Pushkin displays a double-voiced strategy that disrupts the ostensible political message. The heroic panegyric also becomes fragile: in both poems, neither Mazepa nor Peter are ‘masters’ of history. Furthermore, in both texts, the status and function of the omniscient poet as epic narrator is challenged and transformed. Pushkin, in particular, uses his narrator as a mask; yet, in so doing, he also invites the reader to regard the ‘author,’ ‘Pushkin,’ with greater scrutiny and makes him a device that structures the work as a whole. Finally, in both poems, Ukraine’s lost fight for independence in a past age reflects a lack of freedom within the Russian state. Pushkin’s and Volkov’s poems are thus not so much texts about history as they are agents of history. Where they expose that history as constructed, they appeal to a critical position that would interrogate the driving narratives and political forces of the present.

This article examines “China” in contemporary American poetry using the example of Timothy Yu’s poems, titled “Chinese Silence,” which rewrite and / or parody texts from the American literary canon as well as public communication. It proposes a hall-of-mirrors reading of these poems in order to show how Yu’s poems refer to, reflect on, and relocate other authors’ writing of “China.” It argues that Yu’s poems, instead of making claims for an authentic “China,” attempt to bring Chinese Americans’ lived experience into the American literary tradition.

This article gives an overview of the tradition of setting Japanese protest poetry to music since 1945 and examines the relationship between the socio-political movement, poetry and music. In particular, it deals with the origin and development of the Utagoe movement, established shortly after the World War II, as well as the musical adaptation of politically relevant poetry, which has its origin in the tradition of Brecht’s song. These forms of setting Japanese protest poetry to music are associated with the poetic-musical works that were written immediately after the nuclear power plant accident in Fukushima in 2011.

In this article, I analyze the character of hyper-naturalism and exaggerated tactility in dramatic poems by contemporary Russian-Georgian philosopher and writer Keti Chukhrov. I argue that, while descriptions of violence, physiological functions, and abject poverty are common for post-Soviet art, in Chukhrov’s work these elements perform radically different task than in the pessimistic and de-ideologized chernukha, or the style of grim realism. Her approach to matter is also distinct from the historic Russian avant-garde tradition, which relished intensified sensations but did not offer constructive ways of inscribing their immediacy into coherent cultural continuity. Instead, her dramatic poems bear pedagogical, even rehabilitative stakes for recuperating the individual sensations of alienated people into meaningful and shared cultural experiences. In this article, I discuss her approach to drama as mobilizing the tradition of Soviet Marxist defectology, a special educational method of socializing disabled, cognitively impaired, or otherwise disadvantaged people. Pioneered in the Soviet Union in the 1920s by Lev Vygotsky and suppressed in the 1930s, defectology found further application in the 1960s and 1970s in the work of the Zagorsk boarding school for the deafblind, led by Vygotsky’s student Alexander Mescheriakov and Evald Ilyenkov, a Marxist-Hegelian philosopher who is a central figure for Chukhrov’s philosophical research. One of the key tasks of Meshcheriakov and Ilyenkov was to help their deafblind students to overcome isolation through learning to translate their purely tactile sensations into deliberate communicative acts. While Zagorsk offered Ilyenkov an opportunity to test and apply his theory of the collectivist formation of personality, for Chukhrov it is theater that has become the sphere for experimental, practical extension of her scholarly research into Soviet Marxist thought and socialist culture of the 1960s and 1970s. Her dramatic texts offer models of alternative subjectivization for post-Soviet people to allow themselves once again to recognize the presence of universal values and greater cultural commons behind individual, alienated sensations and experiences.