     [file version.texi not included]

Aleader
*******

This manual describes how to use the Aleader software.  It corresponds to Aleader VERSION (UPDATED-MONTH).

Copyright © 2003 Joshua Nathaniel Pritikin

     Copying and distribution of this manual, with or without modification, is permitted in any medium without royalty provided the copyright notice and this notice are preserved.

Introduction
************

This reference manual describes how to use the Aleader software. It's a software manual.

Assessment Quotient
===================

So what is assessment quotient (AQ)? The Aleader test is similar to tests for reading comprehension. However, instead of answering questions about a written story, the Aleader test poses questions about a film.  How consistently you can assess what is going on in the film is what Aleader measures. This measure is call as ``Assessment Quotient''.  It is a quotient because the raw score is divided by the elapsed time of the test.

Aleader is a cognitive appraisal theory.  [add XXX here]

Why is there so much difference between answering questions about a written story and answering questions about a film? Cognitive psychology posits that there is a conceptual process prior to emotion.  Note that there is also a perceptual process prior to cognition, like this:

     Perceptual -> Conceptual -> Emotional

The challenge is to isolate each of these steps as much as possible so we can reflect the exact role that each step plays in our life process. Film is perceptual, an experience, while a written story is conceptual, made of words.  With a written story, it is easy to get mixed up between the conceptual story and our conceptual analysis of it.  With film, a clean separation between the experience and the conceptual analysis is more tractable.

How is AQ related to personality development?  Personality development generally focuses on the student's reaction to a given situation.  Certainly choosing the correct reaction is important.  However, deciding on a reaction depends on assessing the situation accurately.

If my AQ is below average then attending a personality development course will do more harm that good.  I can learn new, better reactions. However, I will often use them at the wrong time.  This is an opportunity for AQ measurement.  If my AQ is measured as below average then i can invest time in raising my AQ, clearing the way for constructive personality development.

Terminology
===========

actual situation
the situation, prior to any conceptual analysis or description
abstract situation
the simplified, objective, verbal description of a given actual situation
actual emotion
the feeling, prior to any conceptual analysis or description
abstract emotion
the simplified, objective, verbal description of a given actual emotion
exemplar
the correct answers; the abstract representation of a film

An abstract situation is an evocative example for an actual emotion.  An abstract emotion is a name assigned to a group of similar abstract situations.

Audience
========

For who is this manual written?

Testing is warfare.  Students are looking for any edge to raise their score.  On the other side, teachers are trying to design a test that actually measures what they want to teach instead of test taking ability. Whether you are interested in achieving the best score, test administration, or test preparation, this manual is for you.

Quick Start
-----------

This manual is not a quick start guide. We are currently preparing a tutorial to go along with the Aleader CD. Please enquire.

Bibliography
============

It customary to provide a bibliography of related research.  Collecting a full annotated bibliography is a long term goal.  Please enquire.

Classification
**************

We use two different tools to analyze a film:

 1. We use our innate sense of empathy to get a feel for the action then pick an evocative phrase which best fits our feeling.

 2. The other method is described in this chapter.

Both methods can classify a short segment of film.  Both methods are distinct, but complementary.  Once you are familiar with how these classification methods work independently then you can study Reconciliation to understand how they work in concert.

The basic building block of Aleader is an abstract situation.  If we pause a film then we can describe the actual situation frozen on the screen.  As time passes, the situation may change.  As the actual situation changes then we need to create additional abstract situations to track the action.  Usually situations are related in the sense that a sequence of situations form a conversation.  Just as a waiter at a restaurant can serve more than one table at a time, there can be more than one conversation going on simultaneously.

How to represent all this is to be understood.  The aim is to construct an abstract story within the confines of Aleader which best describes what is happening in the film. (If you don't believe that there is a unique correct answer then skip to Reconciliation.)  You can read this chapter straight through in linear order, but you will absorb more if you load an exemplar in Aleader and skip around the sections as needed.

Who
===

Who are the two most immediate people in the situation? Even if there are more than two people involved in the action, it is usually possible to choose the two most important people. Sometimes one person is only able to imagine another person.  For example, ``Where is my wife?''  In such cases, the missing person is still considered part of the situation. Sometimes there is only one person in a film and the audience is assumed as the other person.  Skip these sections of the film. (We cannot analyze this type a film objectively because our analysis requires two people and the audience is part of the situation.)  If there are no people at all then there is no situation. Skip these sections of the film.

Initiator
=========

In many conversations, people exchange turns speaking after every one or two sentences.  Whoever is talking or gesturing is usually the initiator. ``Usually,'' because we also have to consider the camera's position. If the camera's perspective matches the point of view of one of the participants then that participant is the initiator. The situation is always evaluated with respect to the initiator's point of view.

The other person (who is not the initiator) is called the contraparty. Sometimes a person remains the initiator for a long time, but often the initiator changes every few seconds.  If both participants are trying to take initiative then you will need to create two situations, one for each point of view.  This and other special cases are discussed in Special Cases.

Intention
=========

There are two ways to decide the intention: the easy way and the correct way.  The easy way is to read the sentences and choose the one which is the best fit.  The correct way is work through the following steps. Since intention is relatively hard to gauge, you need to be familiar with both methods.

 1. Select Intention from the Help menu.  We will be working with the Intention Worksheet, near the bottom of the window.

 2. Drag the situation into the Intention Worksheet.  If you can't figure out how to do this then just copy the information by hand: the names of the two participants and who is the initiator.

 3. From the initiator's point of view, choose each person's likely intention. Carefully read the descriptions in the 3 Categories of Intention and try for the best match.

       * Which intention does the initiator believe he has?

       * Which intention does the initiator believe the contraparty has, or which intention does the initiator want the contraparty to have?

 4. Since the individual intentions are assigned, the composite intention of the pair of individuals is greatly constrained. However, the overall intention sometimes offers additional flexibility which is not available to individuals.  If the intention is symmetric (both participants have the same intention) then you are finished.  The correct intention pair will be highlighted.  Otherwise, find the appropriate alternative (below) and try the Swap button on the Intention Worksheet.

       * observes vs. is made uneasy by

          A positive feeling of excitement, self-control, or demand for intimacy suggests [0] observes [-].  A negative feeling of nervousness, discomfort, or sleepless agony suggests [-] is made uneasy by [0]. Both participants should have the same basic attitude.  If the attitudes are asymmetric then one of the intentions is wrong.

       * exposes vs. steals from

          Who stands to gain by this situation?  If the fulfillment is leaning towards [-] then the intention is [-] steals from [+]. If the fulfillment is leaning towards [+] then the intention is [+] exposes [-].

       * accepts vs. admires

          Is the situation more about beauty (admires) or the transfer of ownership (accepts)?

     One more clue: [0] observes [-] and [-] is made uneasy by [0] typically do not involve physical contact.  If there is a physical exchange then consider a different intention classification.

     There is another Swap button on the Abstract Situation screen.  Each Swap button does something slightly different.  On the Abstract Situation screen, this button exchanges the roles of the participants.  Try clicking this button and decide which sentence is the best fit.

     If you still aren't finding a good match then go back and try choosing the individual intentions again.

Phase
=====

Like verb tense, phase is a question of time.  However, phase has nothing to do with grammar or phrasing.  Phase encodes the time relation between the present and the event at issue.  Which event?  There are four cases depending on the intention:

[0] accepts [+]   What is to be accepted? Has it been transferred?
[+] admires [0]   Who is to be admired? Has he or she been admired?
[+] exposes [-]   What is to be exposed? Has the error been exposed?
[-] steals from [+]   What is to be stolen? Has the valuable been taken?

Watch the film to determine whether the present is before, during, or after the event occurance.  You can watch the whole film to make an accurate determination.  If the event never occurs then the phase is before. Don't get sloppy and assume the phase without asking yourself the above questions.  Don't assume a sequence of before, during, and then after. Any phase can come at any time.  Especially ask yourself, ``What is the event at issue?''  The Help menu offers some example combinations of Phase & Initiative.

Intensity & Tension
===================

Tension is a question of the initiator's future expectation.  If you want an outcome then you will be focused on making it happen.  If you are surrendered to what is going to happen then you won't have any tension (relaxed).  If you believe that you will not be able to avoid an undesirable outcome then your attitude is as stifled (WordNet 1.7 defines `stifled' as: held in check with difficulty; ``a smothered cough''; ``a stifled yawn''; ``a strangled scream''; ``suppressed laughter'' Our usage extends to more variations.).  More succinctly, tension can be defined as ``the initiator's future intention'' as follows:

focused   future [+]   trying for an outcome
relaxed   future [0]   surrendered to the future
stifled   future [-]   unable to avoid an unfavorable outcome

Tension is something you do to yourself.  On the other hand, intensity is like an outside force which is affecting you.  Whether you manage a positive or negative reaction is a separate question.  To what degree this outside force concentrates (or disburses) attention is what ``intensity'' measures.

gentle   control is lost or is easy achieve
forceful   control is wanted but demands some struggle to achieve
extreme   already perfect control, there is no wish for control

Especially for intensity, it is helpful to watch and compare a bunch of examples.  Use the Cross Reference screen to see actual examples from films.  Rough descriptions are available from Intensity & Tension in the Help menu.

Span
====

Span is the maximum amount of time during which all the parameters of an abstract situation remain constant (Who, Initiator, Intention, Phase, Intensity, and Tension ).  Start with a very short span and extend the boundaries later using the Change Span button.  If there are layers of multiple active situations (for example a conversation during a long span of [+] admires [0]) then the longer running spans should be ignored.

If we try to model all the layers of emotion ranging from one second spans to hour long spans then we invite too much uncertainty. When exactly do long span emotions start and end?  Exactly how many layers of emotion are presently active? There questions may not be answerable. Therefore, only consider situations of shortest span.

Conversation
============

Joints connect situations into conversations.  `Conversation' is meant in the broadest sense.  Typically there is a spoken interchange of views, but a subtle non-verbal exchange of gestures can also suffice (or even a foreshadowing relationship). If there are two adjacent situations with the same participants then these situations are probably part of a conversation.  One notable exception is the sentiment of admiration.  Comments like, ``Isn't the sunset beautiful?'', often can stand alone outside of conversation.

Chaining helps track whether a situation should be part of a conversation.  If a given situation should be part of a conversation then set chaining to yes, otherwise set it to no.  Add joints via the Abstract Situation detail screen, from the present to the past.  There are three types of joints. However, practically all joints (at least 80%) are of type react or amend.  Figure out which joint type is appropriate by experimentation. (Choose the type which does not trigger a warning.)  Once a joint is created between two situations then these situations are considered part of a conversation.

Since joints are only visible in the Abstract Situation screen, it is easy to loose track and get confused about which joints are pointing where.  There are two more tools which help manage joints:

  * Verify that joints exist between situations with the Select Past and Select Future menu items.  (The up and down arrows at the bottom right of the list of situations provide the same operations.)

  * Select Chaining from the View menu to see the Chaining Query screen.  This screen makes it easy to see which situations should be part of a conversation but aren't.

Conversations are an experimental feature of Aleader.  For more details, see Special Cases.

Disagreement
============

The questions posed by Aleader may seem simple but sometimes it is hard to figure out the best way to answer. The first thing, check what is happening in the film.  Just discuss the film in more detail and see if you can reach an agreement on its general meaning. Repeatedly view the scene 5, 10 or 100 times. If you can't agree on a meaning then the film is just too ambiguous.  Add some notes to the transcript to hint at an agreed upon meaning.

Even if you agree on the meaning of the film, there are still plenty of opportunities for disagreement.  Understand that the abstract story is a simplification of the actual film. Only the most important aspects of the film need be included.

  * An actor may be doing narration (or merely observation) from a 3rd person perspective.  This narration or observation is less important that any immediate action.  Analyze narration only if nothing else is happening.

  * An actor may change form even if his identity remains the same.  For example, the film may treat him as a police car and then as a person. Joints are not meant to track these transitions.  Don't try too hard to connect everything with joints.  It is usually reasonable to treat a police car as a separate identity and a police officer as a separate identity.

  * Take care to respect the status of hidden information before it is subsequently revealed.  For example, if someone's identity is not yet revealed then treat that person as Someone until the film progresses to the point where the person's identity is actually revealed in the film. A 5-10 second look-ahead is admissible in some cases. Use good judgment.

     Which factors actually contribute to the emotional texture of the film?

Reconciliation
==============

Your abstract story is prepared.  How can you be sure that it is an accurate reflection of the film?  How can you be sure that there is a unique correct answer?  The reconciliation process works as follows:

 1. Predict empathy: Map abstract situations to abstract emotions.

 2. Compare the abstract emotions with actual emotions.

If you feel the emotion ``nervousness'' but the calculated abstract emotion is ``drunk with accomplishment'' then something is wrong.  The calculated and actual emotions must be made to reconcile. How does this work in detail?

Notice that step (1) of the reconciliation process requires an empathy mapping.  We also would like to present an inverse-of-empathy mapping (situation assessment), otherwise we invite doubt about its existence.  A one-to-one mapping would be ideal.  If this mapping is merely one-to-many (or one-way) then the whole viability of the ``situation assessment'' concept is proportionately reduced.

Here is a typical situation/emotion entry.
The part between if and then is the abstract situation pattern.
The word (or words) between the double quotes is the abstract emotion.
The words describing the emotion can be of any type.
There is no artificial limitation.
Any evocative phrase serves as an abstract emotion.

     if
      initiator = left
      situation = exposes
      phase = before
      tension = relaxed
     then "enforcer"

Included with Aleader is one-to-one mapping which encompasses over fifty entries. Even so, we can't prove that this mapping is correct. We can only disprove it by finding counterexamples.  If counterexamples are found which cannot be resolved or adaquately explained then the organization scheme used in Aleader simply doesn't work.  In this case, the whole test design has been built on an inadaqute foundation and deserves to be scrapped.

To search for counterexamples, use the Cross Reference screen. The technique is to look at situations and sort them by similarity.  Use your innate sense of empathy to judge similarity.  Which situations trigger similar emotions?  Which situations are not similar?  If you don't get a clear sense of the emotion on first viewing then repeatedly view the span until you get it.  Counterexamples are of two kinds:

  * The parameters of the situation are too general. Examples of a single situation type evoke more than one emotion.

     For a given abstract situation, all matching film examples should evoke a similar emotion.  You can check by playing each example.  If a problem is found then try to solve it by adding a more specific pattern.  All of the large patterns were developed this way.  Emotions with a relatively large proportion of matches are good canidates for pattern refinement. There are some likely canidates in the default mapping.  These canidates are assigned multiple similar emotions separated by slashes.

  * The parameters of situations are too specific. Examples of more than one situation type evoke a single emotion.

     To detect this kind of problem, ignore situation types and look for abstract emotions which are the same or evocate a similar feeling.  If two emotions are indistinguishable then there is a problem in the empathy mapping.

Try to find a counterexample.  It's not easy, is it?  Gain confidence that the empathy mapping is correct. Now we are ready for step (2).

Go through your abstract story.  Check whether the calculated emotions match the actual emotions.  If you find an emotion that doesn't match then the problem is with the empathy mapping or your abstract story.  Since you already verified the empathy mapping, the fault can only be attributed to your situation assessment ability.

Key Questions
=============

Who
     Who are the two most immediate personalities in the situation?

Initiator
     Which participant is more active? According to whose point of view is the situation assessed?

Intention
     Which intention does the initiator believe he has? Which intention does the initiator believe the contraparty has, or which intention does the initiator want the contraparty to have?

     observes vs. is made uneasy by
          Both participants have the same positive or negative attitude? There should be no physical exchange.

     exposes vs. steals from
          Which way is fulfillment leaning?

     accepts vs. admires
          Is the situation more about beauty or transfer of ownership?

Phase
     What is the event at issue?  Is the present before, during or after the event occurance?

Tension
     Is the initiator trying for an outcome, surrendered to the future, or unable to avoid an unfavorable outcome?

Intensity
     To what degree is control wanted and possible?

Span
     What is the maximum amount of time during which the parameters of an abstract situation remain constant?

Chaining
     Is this situation part of a conversation?

Disagreement
     Which factors actually contribute to the emotional texture of the film?

Score Calculation
=================

The definition of Assessment Quotient (AQ) is: ``the number of correctly assessed situations per hour''.  So an AQ of 60 means that the student averages one correctly assessed situation per minute. (An AQ of 60 is very very good, almost impossible.  An AQ between 5-20 corresponds to average assessment ability.)  However, an AQ score alone is not necessarily an accurate measure because there are a few obvious ways to cheat the system.  AQ is meaningless without knowing the Ideal AQ, empathy coverage statistic, and the number of exams given.

Ideal AQ
     One way to cheat is to trade accuracy in favor of speed.  If you concentrate on a subset of the parameters and enter your answers fast enough then your AQ will be inflated, even if your overall assessment ability is somewhat impaired.  i suppose the opposite emphasis is also possible, sacrificing speed to inflated accuracy. (If your accuracy is so good then you should be designing exemplars.) Actually these techniques are not really cheating, however it is important to expose a student's strategy.  What factors contributed to the AQ?  Is the AQ due to extreme speed or accuracy?  Or is the student pursuing a balanced approach?

     Ideal AQ assumes perfect assessment ability.  The definition is ``the number of situations per hour''.  By comparing AQ and Ideal AQ, we can gauge the balance between speed and accuracy:

     AQ < 60% Ideal AQ   too fast
     AQ > 90% Ideal AQ   too slow
     otherwise   speed vs. accuracy balance is alright

Empathy Coverage
     Another way to cheat is to quickly enter the correct answer for one situation then immediately finish the exam.  If the exam can be finished in about ten seconds then both the AQ and Ideal AQ will be greater than 300.  However, this is obviously not an accurate measure.

     The general problem is that the AQ score doesn't indicate anything about the type of situations the student was able to assess.  Most of the situations might have been [0] observes [-]. (As in comedy films.)  It is important to expose the breadth of emotions which contributed to a given AQ score.  The Coverage item in the Tools menu provides this statistic.  If the coverage is less than 85% then take additional exams to increase the coverage.

What is a reasonable strategy to maximize AQ?  Notice that there is an uneven distribution of emotions (at least among our first film exemplars).  Almost half the situations map to only four emotions.  Therefore, we should skip around looking for uncommon emotions to more quickly gain coverage.  We should not go through a film in linear order, but adopt a ``treasure hunt'' approach.

Exemplar Preparation
********************

Transcript
==========

Find or create a transcript for your film.  Creating a transcript from scratch is really tedious.  Be sure to search Drew's Script-O-Rama (http://www.script-o-rama.com) or any other similar sites for your title.  If you can't find a ready-made script then consider whether you should pick a different film. (One possible solution is to use OCR software to convert subtitle images to text.)

Film
====

Presently, Aleader only supports MPEG1-based media formats (VCD, SVCD, etc).  If you have a film in another format then you can probably convert it to MPEG.  Many format conversion tools are available and they are getting better every day.

In addition to MPEG media, Aleader needs an index and a simple film configuration file.

 1. Create the index: aleader-filmview --index-mpeg /path/to/film.mpg

 2. Once finished, the indexer will output some XML enclosed by <media> ... </media> tags.  Paste the XML into a file like the following example:

      <?xml version="1.0"?>
      <!DOCTYPE film>
      <film>
        <media>
          <path>/local/aleader/nau-scene1.mpg</path>
          <duration>208.52</duration>
          <timeadj>0</timeadj>
        </media>
      </film>

     Or if you already have this configuration file then just update the duration and file paths.  Save it with an .xml suffix.

 3. You need to place this file in the Aleader search path somewhere.  To see the search path, run Aleader with the --help-includes option. You can prepend to the search path list with the -I option.

 4. Open your transcript in Aleader and select Properties from the File menu.

 5. Click on the Film tab if it is not already selected.

 6. Click the Refresh button.  Your film should appear in the list on the right side.  If it doesn't then review the prior steps and click the Refresh button again.

 7. Select your film from the list on the right and click the Set button.  The film is now attached to the transcript. All playback functionality should work.

Synchronization
===============

Load your transcript and film together in Aleader.  Place your cursor at the likely beginning of a span.  Sync the film up to the same place so the film matches your cursor position in the transcript.  Select Sync Point from the Insert menu.  Re-position your cursor and the film near the next span.  Select Sync Point from the Insert menu.  Repeat this procedure until you have sync'd the whole film.

Aleader does linear interpolation between the explicit sync points so you only have to add sync points at important places.  After adding lots of sync points, you may want to redistribute them.  To average the sync in a region, select the region and select Sync Point.  When there is a selection, all sync points within the selection are removed and two new sync points are added at the beginning and end of the selection.

Make backups.  This process is not something you want to do more than once!

Naming
======

Try to name the personalities of a film in an obvious way.  If there are ten names for the same person then students will often guess the wrong name --- lowering the score for no good reason.  Try to minimize the number of names, even at the expensive of specificity.  Only name important personalities.  Here are a few more guidelines:

  * Anthropomorphic persons are fully acceptable. (Wordnet 1.7 defines `anthropomorphic' as: suggesting human characteristics for animals or inanimate things.)

  * If a group of people act in unison then the whole group can be considered as a single identity.  A unique name can be given to a group, such as ``Team X,'' but often Someone can suffice.

  * If you create a group name like ``Term X'' then be sure to write some notes describing its proper use.

Special Cases
=============

If you are new to Aleader then this section won't make much sense.  This section holds experimental answers to some of the questions that will only arise after you have spent a fair amount of time analyzing films.

Joint Counting
--------------

Each joint can optionally close the target situation, thereby incrementing the close counter.  Typically, each situation which is part of a conversation should be closed exactly once.  If the close counter exceeds the expected joints for the situation's chaining (1 for yes and 0 for no) then the situation is considered Over-closed.  Such situations can quickly be found using the Query Chaining screen. The purpose of these mechanics are only to help you keep track of what you are doing with joints.

Conflict
--------

There is a conflict when both participants are trying to be the initiator.  If there is a conflict then you should create two situations with overlapping spans (and connected by a reaction joint).  The first initiator should be whoever initiates the conflict.  How much the spans overlap is the maximum overlap that the scoring system will match against.  Experiment to figure out how the algorithm works.  In general, the spans should overlap as much as possible.  More overlap makes matching more flexible.

Domination
----------

If the initiator doesn't allow the contraparty to take initiative then he or she is dominating the conversation.  Model this by placing the contraparty's reaction wholely within the initiator's span (normally the spans are not even overlapping).

Revoke (Joint Type)
-------------------

A revoke joint has the special property that it nullifies the closing effect of the target situation's joints.  For example, consider the following conversation while ordering pizza:

#   story   joints
1   Waiter: ``What can i get for you?''
2   Customer: ``i want one large cheese pizza.''
react 1
3   Waiter: ``Yes sir''
react 2
4   Customer: ``No, i want two small cheese pizzas.''
revoke 2, react 1
5   Waiter: ``OK, two small cheese pizzas.''
react 4

All joints are closing.  In situation 3, the waiter thought he finalized the order (closed).  In situation 4, the customer revoked his first reaction and placed a new order.  Even though both situation 2 and 4 are closing situation 1, the close counter is one.

If the abstract story is unfolding slowly over time then this is the proper way to model it.  Situation 3 remains, but disconnected. Sometimes tens of situations (or practically the whole film) can be disconnected by a single revoke. That's part of the fun of story telling.

Optional (Chaining)
-------------------

The Optional choice is not available in exams, only exemplars. Often a chain of situations (as below) are linked together by react and amend type joints.  It sometime happens that a very short situation could be inserted between two consecutive sitations.

Ambiguous Area

If the chain of situations should be scored as 100% correct with or without situation B then use the optional chaining for situation B.  Also notice that the type of the joint to situation A can change (in this example, from amend to react).  For this reason, the scoring system will never distinguish between react and amend type joints.  (Since the choice between react and amend is a function of the participants of two situations, there is no information gain or loss by not considering the joint type.)

Miscellaneous
*************

Native Language Support
=======================

Aleader's linguistic emphasis presents some challenges to Native Language Support.

  * Transcript translation is the obvious problem.  Even a minimum translation, without dubbing the film, still demands the tedious process of synchronizing the film with the translated transcript (see Synchronization) and then adjusting all the spans.  It's a lot of manual work which i don't really know how to automate.

  * Within Aleader, there is a component which converts abstract situations into sentences.  No attempt is made to adapt the sentence according to the gender of the participants.  No attempt is made to conjugate verb tense.  It reads awkwardly.  i'm not sure whether other languages are more strict about such things.

  * It is an open question how well the empathy mapping translates into other languages.  i expect a core subset of emotions will translate into all languages.  However, some languages may offer more names for emotions than others languages.  i am curious to see what this direction of inquiry will reveal.

Strange Correspondence
======================

Some intentions can be expressed in terms of intensity & tension.  This chart isn't directly useful, but serves as a good exercise of subtle concepts.

[0] observes [-]
intensity applied to a focused tension
[0] and [0] are at readiness
intensity applied to a relaxed tension
[-] is made uneasy by [0]
intensity applied to a stifled tension
[+] and [+] are at an impasse
tension applied to a forceful intensity