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This study aims to explore the relationship between speed behavior of participants and driving styles on interchange ramps. A spiral interchange in Chongqing was selected as an experimental road to carry out field driving experiment.

The continuous operating speed during experiment was selected by Mobile Eye, and the driving style was selected via two inventories.

Different driving behaviors showed great differences in age, driving mileage and driving experience. During driving process, male pursued driving stimulation more, whereas female pursued driving steadiness more. Therefore, driving characteristics of male were more disadvantageous to driving safety than that of female. Except for the large speed difference at the entrance and exit of the ramps, the differences at other positions were small. And the operating speed of male was slightly higher than that of female. The difference between different genders at the ascending end position achieved 4–5 kph, and the difference at other feature points were mostly 1–2 kph. During driving process, risky participants were more likely to pursue driving stimulation, and the poor speed control behavior was reflected in wide range of desired operating speed. Based on the results of analyzing at feature points, melancholy and sanguine participants more tended to take a high operating speed, and the poor speed control behavior was reflected in the most widely desired speed range. The speed control behavior of mixed participants was more cautious.

Advanced driving assistance system combined with two inventories was used to explore difference of speed behavior.

This is a paper about the cinematic as spectacle and the construction of the sublime. It is concerned with gendered constructions of desire and construes the object of desire in this case as a sublime object. At the same time, the paper is about decadence and falling, falling away. Therefore, this piece of writing attempts to deal with some thoughts on the relationship between decadence and mortification. So this paper is also about distance and about movement, about kinema (Greek movement) and the distance that is described by falling from the constructed sublime and its associated melancholy. These ideas are explored via an examination of one of Alfred Hitchcock’s most powerful films, Vertigo (1958), and a notion of the tragic sublime. Taken together, the concept of the sublime and the narrative of the film provide insights into the melancholy of commodified representations in the obsessive‐compulsive pursuit of organisational idealisation.

This contribution is an investigation into the palpable connection of extreme metal music and concepts of death, dying and mortality. Like other dark subcultures, metal has an intense infatuation with the macabre; many of its subcultures seek to uncover meaning through musical exploration into varying dark themes that emerge when thinking about death and what lies beyond the bounds of existence. From the abrasive and animalistic blood lust of death metal to the melancholic textures of black metal and the sonic void evoked in doom metal, extreme metal is a catalyst through which fans of the macabre can explore many perceptions and conceptions of corporeal fragility; the consuming pain of life, of death, and of knowing; and the existential notion of the ungraspable abyss. This chapter explores these varying conceptualisations of death in extreme metal culture, their sonic representations and their cathartic consolation: delving into the psychoanalytic reasoning and embodied sound of death.

This paper aims to explore multiple problematisation processes through a former needle exchange programme run by Kék Pont (a non-governmental organisation) in the 8th district of Budapest. By presenting a collage of ethnographic stories, this paper attempts to preserve tacit knowledge associated with the programme and thereby keep its office alive as a “drug place”, the operation of which was made impossible in 2014.

Drawing on the insights of Foucauldian governmentality studies and actor-network theory, this paper focusses on drug use as a problem in its spatial-material settings. Based on ethnographic fieldwork, the contribution traces multiple problematisation processes and related infrastructures.

From the needle exchange programme’s perspective, drug use is not a singular problem but the effect of multiple problematisation processes. Although those processes are often in conflict with each other, the question is not which one is right, but how social workers manage to hold them together. It is a fragile achievement that requires years of training and ongoing negotiation with local actors. By eliminating Kék Pont’s 8th district office, the Hungarian Government did not only hinder harm reduction in the area but it had also rendered tacit knowledge associated with the needle exchange programme as a “drug place” inaccessible.

The paper is a melancholy intervention – an attempt to preserve tacit knowledge that had accumulated at the needle exchange programme. The retelling of ethnographic stories about this “drug place” is one way of ensuring that other drug policies remain imaginable.

Not so very long AGO, there lived a happy, joyful, carefree and complacent young prince. When he arose, the sun would follow, smiling brightly down on all the kingdom. There was never a cloud in the sky, and the prince's gay laughter brought with it a glow of warmth and contentment akin to his heavenly companion.

This chapter “unpacks” a poster from the CEAD (Contemporary Ethnography Across the Disciplines) conference 2010 and re-situates it within an autoethnographic narrative. The poster presented a project that combined Evocative and Analytic modes in a visual ethnography focused on a collection of tourist photographs taken on Rarotonga in the South Pacific. The framing autoethnography finds in this project evidence of a distinctive tension in contemporary informationalized life between embodied life and data coordinates, plots, or maps of the spaces and times where life takes place. The chapter aligns two sets of terms: on one hand embodied life and the Evocative mode, on the other hand data coordinates/plots and the Analytic mode. With its focus on the photographic image, the chapter also suggests two further terms for both Evocative and Analytic investigation: the image as fantasy and the visual moment. The chapter takes the form of a layered performance text in order to explore these matters.

The admirable “ Letters of an Englishman,” which appear from time to time in the Daily Mail, should, in our view, be read and studied by every Briton who has the true interests of the Empire at heart. We conceive it to be a duty to aid in the dissemination of the facts and conclusions set forth so clearly and so ably in these contributions. With the courteous permission of the Author and the Editor of the Daily Mail we therefore reprint two of these articles in our columns and strongly press them upon the attention of our readers:—

A typology of basic affective and cognitive orientations is developed within a generic cultural socio-cognitive trait theory of a “plural affect agency” (the emotional organisation).

Affective personality is defined in terms of a set of affect traits. These are defined in terms of epistemically independent bipolar affect types, which in turn coalesce into a set of mindset types that can be related to the classical four temperaments.

Different affect types are supposed to differently regulate the three stages of emotion management. Affect types and cognitive types provide mutual contexts, and foster reciprocal affect and cognitive orientations.

The theory provides guidance for analysis of cultural differentiation within social systems (societies/organisations), with reference to identification, elaboration and execution of “emotion knowledge” and “cognitive knowledge”.

Understanding interdependencies between cognition and emotion regulation is a prerequisite of managerial intelligence and strategic cultural intelligence, which is in demand for interaction and integration processes across social systems.

From the framework model linking emotion expression and emotion regulation with cognition analysis, a typology arises allowing ex-ante expectation of typical patterns of behaviour.

This chapter explores how the narrative-based walking simulator What Remains of Edith Finch ludifies traditions of Gothic fiction. Combining Gothic themes of death, the family and the family curse, the game involves the protagonist investigating her abandoned childhood home where every family member died a dramatic and untimely death. Sealed rooms, preserved since their inhabitants’ demise, contain shrine-like displays including a document of some form allowing players to experience the last moments of each Finch. Play involves penetrating these spaces, according to the ludo-Gothic emphasis on boundary crossing, piecing together interactive narrative fragments consistent with Gothic fiction’s patchwork storytelling. In accessing each lost manuscript, players engage in a generically specific process of multi-media trans-subjectivity, experiencing various first person perspectives and engaging with numerous gameplay interfaces. The title’s series of ambiguous unreliable narratives, its refusal of a consistent subjective position, and unreal dream-like sensation contribute to the game’s Gothic atmosphere. In a restriction of videogame agency and control, consistent with horror games, no player option is available other than to complete each pre-determined death. Gothic pastiche, a compulsion to repeat the past, and the embalming processes of photographic media are variously employed across these sequences. Play evokes the melancholy heroine, consumed by maternal loss, masochistically replaying her family’s sorrowful past, hunting for lost objects and exhuming the ghosts of her history. With its nested narrative, morbid preoccupation and ambivalent supernatural presence, the game effectively translates Gothic traditions into the videogame medium.