In deze bijdrage wordt een lans gebroken voor een groter aandeel van de zintuiglijkheid bij de kennisverwerving in het algemeen. Er wordt daarbij in grote mate ingespeeld op de mogelijkheden van de moderne technologie en van de ICT-toepassingen in het bijzonder. Deze maken het immers mogelijk om op interactieve wijze met de werkelijkheid om te gaan op een manier die afwijkt van de overwegend digitale modus van de traditionele kennisoverdracht. Het is een uitdagende evolutie, die grote gevolgen heeft voor de (...) invulling van het onderwijs. De analoge modus heeft echter ook haar rechten, omdat ze heel wat rijker is dan het beperkte begrippenkader dat vaak op een bijna totalitaire wijze op de werkelijkheid wordt losgelaten. We willen daarom graag aansluiten bij de moderne opvatting over een leerling als een lerend en adaptief systeem. Centraal in deze opvatting staat de interactie met de werkelijkheid en de mogelijkheid om hierbij gebruik te maken van “tools” en “interfaces”. De tools hebben zowel betrekking op de waarneming als op de actie, en er zijn ook cognitieve tools. Het gebruik van computertechnologie maakt het verder mogelijk om ook op het vlak van de interfaces heel sterk in te grijpen. -/- . (shrink)

Increasingly, medical educators integrate art-viewing into curricular interventions that teach clinical observation—often with local art museum educators. How can cross-disciplinary collaborators explicitly connect the skills learned in the art museum with those used at the bedside? One approach is for educators to align their pedagogical approach using similar teaching methods in the separate contexts of the galleries and the clinic. We describe two linked pedagogical exercises—Visual Thinking Strategies (VTS) in the museum galleries and observation at the bedside—from “Training the Eye: (...) Improving the Art of Physical Diagnosis,” an elective museum-based course at Harvard Medical School. It is our opinion that while strategic interactions with the visual arts can improve skills, it is essential for students to apply them in a clinical context with faculty support—requiring educators across disciplines to learn from one another. (shrink)

The authors examined cultural preferences for formal versus intuitive reasoning among East Asian (Chinese and Korean), Asian American, and European American university students. We investigated categorization (Studies 1 and 2), conceptual structure (Study 3), and deductive reasoning (Studies 3 and 4). In each study a cognitive conflict was activated between formal and intuitive strategies of reasoning. European Americans, more than Chinese and Koreans, set aside intuition in favor of formal reasoning. Conversely, Chinese and Koreans relied on intuitive strategies more than (...) European Americans. Asian Americans' reasoning was either identical to that of European Americans, or intermediate. Differences emerged against a background of similar reasoning tendencies across cultures in the absence of conflict between formal and intuitive strategies. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

All processes of measurement imply symmetry?breaking. Ambiguity is the coexistence of mutually incompatible aspects of the same structure. There are many examples of analogy and symmetry breaking in nature and in culture.

[full article, abstract in English; abstract in Lithuanian] Constructionists operationalize a powerful notion they share with constructivists: individual learning is facilitated by building models of specific ideas, concepts, methods, objects, environments, feelings, dreams, memories and sounds using the learner’s current stock of knowledge. Constructionists do this by building models or artifacts that can be externally manipulated, interrogated by their builder, and verbally shared with others. Constructionists believe that new knowledge is created during these discussions. Constructionism is rich with heuristic methods (...) for both finding and constructing artifacts and for discussing these artifacts privately and publicly. Constructionists argue that both constructing and discussing are necessary for deep sense-making. This paper describes one specific constructionist learning method: visual modeling. It illustrates one educator’s approach, developed in the classroom over a 40-year period. It references the relevant literature; describes its pedagogic approach, materials and outcomes; and it offers a step-by-step example of one student’s thinking process. Finally, it presents – in appropriate narrative form – 15 arguments why the visual component extends the constructionist project and should be integrated into more educational programs. (shrink)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...) This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented with (...) mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

Este trabajo abordará cuestiones esenciales sobre el imaginario colectivo y sus relaciones con la realidad y la verdad. Primero, debemos abordar este tema dentro de un marco conceptual, seguido del correspondiente análisis fáctico de realidades conductuales demostrables. Adoptaremos no solo la metodología, sino sobre todo los principios y proposiciones de la filosofía analítica, que seguramente quedarán patentes a lo largo del estudio y podrán identificarse por las características descritas por Pérez. : Rabossi (1975) sostiene que la filosofía analítica puede identificarse (...) considerando ciertos parecidos familiares. Sugiere los siguientes rasgos familiares: una actitud positiva hacia el conocimiento científico; un enfoque cauteloso de la metafísica; una concepción de la filosofía como tarea conceptual, que toma como método el análisis conceptual; una estrecha relación entre lengua y Filosofía; una preocupación por buscar respuestas argumentativas a problemas filosóficos; la búsqueda de claridad conceptual. -/- Estos conceptos originales implican contenidos culturales, sociales, religiosos, científicos, filosóficos, morales y políticos propios de cada existencia colectiva. En este estudio no debatiremos ni demostraremos. Nuestro objetivo no es establecer sistemáticamente un método, criticar o aportar pruebas. Este trabajo se basa en la reflexión analítica. Especularemos lo más completa y profundamente posible y expresaremos los resultados de nuestros pensamientos. Sin perjuicio del carácter multidisciplinar del tema y de la apertura metodológica para aceptar aportaciones de cualquier campo científico, este trabajo pertenece a la psicología y la ontología o, en otras palabras, a la psicología social y ontológica. La metodología libre que orienta estas reflexiones abarca y considera todo lo que se acerca a la coherencia con la epistemología filosófica y psicológica. Esta metodología no busca evidencia, sino que busca la interrelación entre evidencia existente de cualquier naturaleza y magnitud, infiriendo significado consistente a partir de cosas reales. Muchos grandes pensadores en ningún momento han buscado demostraciones, teorizaciones o sistematizaciones. Estos pensadores pensaron, meditaron y pudieron acercarse a la verdad con la iluminación de su humildad. Ellos serán nuestra referencia y el ejemplo a seguir. De hecho, no encontraremos la verdad. Sin embargo, de una cosa podemos estar seguros: muchas veces nos acercaremos a la verdad y en todo momento nos alejaremos de la mentira. El objetivo principal de este estudio es observar cómo funcionan algunos de los atributos evolutivos esenciales de la humanidad. Al igual que la creatividad, la imaginación y la asociación pueden convertirse en una enfermedad peligrosa, al abrigo de las brumosas sombras de la inteligencia. -/- . (shrink)

В данной работе рассматриваются важнейшие вопросы о коллективном воображаемом и его отношениях с реальностью и истиной. Сначала мы рассмотрим эту тему в концептуальных рамках, а затем проведем соответствующий фактологический анализ наглядных поведенческих реалий. Мы будем опираться не только на методологию, но и, главным образом, на постулаты и положения аналитической философии, которые, безусловно, будут проявляться на протяжении всего исследования и могут быть идентифицированы по признакам, описанным Пересом : Рабосси (1975) отстаивает идею, что аналитическая философия может быть идентифицирована путем рассмотрения некоторых семейных (...) сходств. Он предлагает следующие семейные черты: позитивное отношение к научному знанию; осторожное отношение к метафизике; представление о философии как о концептуальной задаче, в которой в качестве метода используется концептуальный анализ; тесная связь между языком и философией; стремление к аргументированным ответам на философские проблемы; поиск концептуальной ясности. Эти базовые понятия включают в себя культурное, социальное, религиозное, научное, философское, моральное и политическое содержание, принадлежащее каждому и коллективному существованию. В данной статье мы не будем дискутировать и доказывать. Наша цель — не систематическая методология, не критика и не доказательство. Настоящая работа основана на аналитической рефлексии. Мы будем рассуждать как можно более полно и глубоко и излагать результаты своих размышлений. Несмотря на междисциплинарный характер темы и методологическую открытость к принятию вклада из любой области науки, данная работа относится к психологии и онтологии, или, другими словами, к социальной и онтологической психологии. Свободная методология, направляющая такие размышления, охватывает и рассматривает все, что приближается к согласованности с философской и психологической эпистемологией. Эта методология не гонится за доказательствами, а ищет взаимосвязь между существующими доказательствами любой природы и величины, выводя когерентный смысл реальных вещей. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

Diese Arbeit wird wesentliche Fragen über das kollektive Imaginär und seine Beziehungen zur Realität und Wahrheit ansprechen. Zunächst sollten wir dieses Thema in einem konzeptionellen Rahmen ansprechen, gefolgt von der entsprechenden Tatsachenanalyse demonstrierbarer Verhaltensrealitäten. Wir werden nicht nur die Methodik, sondern vor allem die Prinzipien und Sätze der analytischen Philosophie annehmen. Die vorliegende Arbeit beruht analytischer Reflexion. Wir werden so umfassend und tief wie möglich spekulieren und die Ergebnisse unserer Gedanken ausdrücken. Trotz des multidisziplinären Charakters des Themas und der methodischen (...) Offenheit für die Annahme. Beiträge aus jedem Bereich der Wissenschaft, diese Arbeit gehört zu Psychologie und Ontologie oder, mit anderen Worten, soziale und ontologische Psychologie. Die freie Methodik, die solche Reflexionen leitet, umfasst und betrachtet alles, was sich der Kohärenz mit der philosophischen und psychologischen Epistemologie nähert. Diese Methodik verfolgt keine Beweise, sondern sucht nach der Wechselbeziehung zwischen bestehenden Beweisen jeglicher Art und Größe, die eine kohärente Bedeutung zu den realen Dingen ableiten. Der Hauptbereich dieses Titels besteht darin, zu beobachten, wie einige der wesentlichen evolutionären Attribute der Menschheit, wie Kreativität, Fantasie und Assoziation, zu einer gefährlichen Krankheit werden können, die in den Nebelschatten der Intelligenz versteckt ist. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

Classical cognitivist and connectionist models posit a Cartesian disembodiment of mind assuming that brain events can adequately explain thought and related notions such as intellect. Instead, we argue for the bodily basis of thought and its continuity beyond the sensorimotor stage. Indeed, there are no eternally fixed representations of the external world in the "motor system," rather, it is under the guidance of both internal and external factors with important linkages to frontal, parietal, cerebellar, basal ganglionic, and cingulate gyrus areas (...) that subserve cognitive and motivational activities. Indeed, the motor system, including related structures, is a self-organizing dynamical system contextualized among musculoskeletal, environmental (e.g., gravity), and social forces. We do not simply inhabit our bodies; we literally use them to think with. (shrink)

The biological Brain createst the mental Mind. Today our collective Mind becomes so fascinated by its source, the Brain, that all sciences incorporate neuro models in their concepts to increase global brainpower with technology. The most significant discovery is probably technology. We learn how the Brain creates consciousness and how the Brain generates momentaneous Time. Discover how at each moment in Time, our body runs the whole program of Evolution. What we know about the Brain is phantasy from the Mind.

The framework of depicting put forward byClark (2016)offers a schematic vantage point from which to examine iconic language use. Confronting the framework with empirical data, we consider some of its key theoretical notions. Crucially, by reconceptualizing the typology of depictions, we identify an overlooked domain in the literature: “speech-embedded nonverbal depictions,” namely cases where meaning is communicated iconically, nonverbally, and without simultaneously co-occurring speech. In addition to contextualizing the phenomenon in relation to existing research, we demonstrate, with examples from American (...) TV talk shows, how such depictions function in real-life language use, offering a brief sketch of their complexities and arguing also for their theoretical significance. (shrink)

No presente trabalho, vamos abordar algumas das questões essenciais sobre o imaginário coletivo e suas relações com a realidade e a verdade. Devemos encarar esse assunto em uma estrutura conceptual, seguida pela análise factual correspondente às realidades comportamentais demonstráveis. Adotaremos não apenas a metodologia, mas principalmente os princípios e proposições da filosofia analítica, que com certeza serão evidentes ao longo do estudo e podem ser identificados pelos recursos descritos por Perez[1] : Rabossi (1975) defende a ideia de que a filosofia (...) analítica pode ser identificada considerando-se certas semelhanças familiares. Ele sugere os seguintes traços familiares: uma atitude positiva em relação ao conhecimento científico; uma atitude cautelosa em relação à metafísica; uma concepção da filosofia como uma tarefa conceptual, que toma a análise conteudo como um método; uma estreita relação entre linguagem e filosofia; uma preocupação em buscar respostas argumentativas para problemas filosóficos, e procura de clareza conceptual. Esses conceitos centrais envolvem conteúdos culturais, sociais, religiosos, científicos, filosóficos, morais e políticos, pertencentes à existência individual e coletiva de cada um de nós. Neste artigo, não discutiremos nem demonstraremos. Nosso objetivo não é o de sistematicamente criticar ou evidenciar qualquer coisa, de qualquer maneira. O presente trabalho se baseia na reflexão analítica. Apenas especularemos da maneira mais abrangente e profunda que pudermos e expressaremos os resultados de nossos pensamentos. Não obstante a natureza multidisciplinar do assunto e a abertura metodológica para aceitar contribuições de qualquer campo da ciência, este trabalho pertence ao objetivo da psicologia e ontologia ou, em outros termos, da psicologia social e ontológica. A metodologia livre que norteia tais reflexões abrange e leva em consideração tudo o que se aproxima da coerência com a epistemologia filosófica e psicológica. Essa metodologia não busca alcançar evidências, mas apenas procura a inter-relação entre evidências já existentes, de qualquer natureza e magnitude, inferindo um significado coerente para as coisas reais. Muitos dos grandes pensadores, a qualquer momento, nunca procuraram demonstrações, teorizações ou sistematizações. Esses pensadores apenas pensavam, meditavam e com a iluminação de sua humildade podiam se aproximar da verdade. Eles serão nossa referência e o exemplo a ser seguido. Com certeza, não encontraremos a verdade, mas podemos ter certeza de alguma coisa: em muitos momentos, chegaremos perto da verdade e, em todos os momentos, estaremos nos afastando da inverdade e da mentira. O escopo principal deste estudo é observar como alguns dos atributos evolutivos essenciais da humanidade, como criatividade, imaginação e associação, podem se tornar uma doença perigosa, abrigada nas sombras enevoadas da inteligência. (shrink)

The biological brain creates a mind, and the mental mind creates a brain. Learn how the brain creates consciousness and how it generates momentaneous time moments. Discover how at each moment in Time, our body runs the whole program of Evolution. Neuroscience and Philosophy.

In this work, we will approach some essential questions about the collective imaginary and their relations with reality and truth. We should face this subject in a conceptual framework, followed by the corresponding factual analysis of demonstrable behavioral realities. We will adopt not only the methodology, but mostly the tenets and propositions of the analytic philosophy, which certainly will be apparent throughout the study, and may be identified by the features described by Perez : -/- Rabossi (1975) defends the idea (...) that analytic philosophy can be identified by considering certain family resemblances. He suggests the following family traits: a positive attitude toward scientific knowledge; a cautious attitude toward metaphysics; a conception of philosophy as a conceptual task, which takes conceptual analysis as a method; a close relationship between language and philosophy; a concern with seeking argumentative answers to philosophical problems; search for conceptual clarity Perez, Diana Ines, "Analytic Philosophy in Latin America”, The Stanford Encyclopedia of Philosophy ). These core concepts involve cultural, social, religious, scientific, philosophic, moral, and political contents, belonging to the individual and collective existence of each one of us. The present work grounds itself on analytical reflection. We will speculate the most comprehensive and profound way we can and express the results of our thoughts. Notwithstanding the multidisciplinary nature of the subject and the methodological openness for accepting contributions from any field of science, this work belongs to the aim of psychology and ontology or, in other terms, social and ontological psychology. The main scope of this paper is to observe how some essential evolutionary attributes of humankind, like creativity, imagination, and association, can become a hazardous sickness, sheltered in the misty shadows of the intelligence. (shrink)

Some have suggested that images can be arguments. Images can certainly bolster the acceptability of individual premises. We worry, though, that the static nature of images prevents them from ever playing a genuinely argumentative role. To show this, we call attention to a dilemma. The conclusion of a visual argument will either be explicit or implicit. If a visual argument includes its conclusion, then that conclusion must be demarcated from the premise or otherwise the argument will beg the question. If (...) a visual argument does not include its conclusion, then the premises on display must license that specific conclusion and not its opposite, in accordance with some demonstrable rationale. We show how major examples from the literature fail to escape this dilemma. Drawing inspiration from the graphical logic of C. S. Peirce, we suggest instead that images can be manipulated in a way that overcomes the dilemma. Diagrammatic reasoning can take one stepwise from an initial visual layout to a conclusion—thereby providing a principled rationale that bars opposite conclusions—and the visual inscription of this correct conclusion can come afterward in time—thereby distinguishing the conclusion from the premises. Even though this practical application of Peirce’s logical ideas to informal contexts requires that one make adjustments, we believe it points to a dynamic conception of visual argumentation that will prove more fertile in the long run. (shrink)

This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued (...) by Heidegger and his inheritors, is that technology is ontologically problematic; rather than technology being evidence of performative knowledge, it is instead existentially threatening by virtue of the fact that it changes the tenor of our relationship with the world-as-given. Despite the fact that these claims seem prima facie incompatible, I argue that they may be successfully reconciled by introducing a third body of scholarship: the philosophy of photography. For it is the case, I argue, that although we, qua human beings, occupy lifeworlds that are necessarily constituted by technology, technology also induces a kind of phenomenological scepticism: a concern that mediated action precludes us from the possibility of authentic experience. Arguing in favour of the sentiment that photographs serve as a kind of phenomenal anchor—a kind of machine for living—I claim that photographic images provide a panacea to this existential concern: despite being epistemically problematic, it is this selfsame epistemic “specialness” of photographs that forces us to phenomenologically recommit, if only temporarily, to the world in a serious way. Consequently, it is my belief that an analysis of our artefacts and the way they function is fundamentally incomplete without an analysis of the epistemic and ontological problems introduced of the photographic image; as I will demonstrate, the photographic image casts an extremely long shadow over the philosophy of technology. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

In this article, I consider the reception of images that are present in a city space. I focus on the juxtaposition of computer‑generated images covering fences surrounding construction sites and the real spaces which they screen from view. I postulate that a visual experience is dependent on input from the other human senses. While looking at objects, we are not only standing in front of them but are being influenced by them. Seeing does not leave a physical trace on the (...) object; instead the interference is more subtle — it influences the way in which we perceive space. Following in the footsteps of Sarah Pink, Michael Taussig and William J. T. Mitchell, I show that seeing (to paraphrase the title of an article by the last of the above mentioned scholars) is a cultural practice. The last part of the article presents a visual essay as a method that can contribute to cultural urban studies. I give as an example of such a method a photo‑essay about chosen construction sites in Poznań, which I photographed between December 2014 and June 2015. (shrink)

Guthrie contends that religion can best be understood as systematic anthropomorphism - the attribution of human characteristics to nonhuman things and events. Religion, he says, consists of seeing the world as human like. He offers a fascinating array of examples to show how this strategy pervades secular life and how it characterizes religious experience.

What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) contextual and dynamic speci- ficity. Through both phenomenological and neuroscientific explorations I analyze what is characteristic about a more “aesthetic stance” and argue that there is a certain asym- metry between beholder and beheld, which has to do with a disengagement of goal- directed action, and which allows for other kinds of perceptual involvement than in a more “practical stance”. It is a multi-disciplinary project integrating a sensorimotor no- tion of aesthetic affordances, 18th century philosophy, and large-scale brain network findings. What ensues is a new dynamic framework for future empirical and theoretical research on aesthetic perception. (shrink)

The analysis of legal communication has almost exclusively been the domain of discourse analysts focusing on the ways that the linguistic system is used to realise legal meanings. Multimodal discourse analysis, where visual forms in combination with traditional linguistic expressions co-occur, is now also an area of expanding interest. Taking a Systemic Functional Linguistics “social semiotic” perspective, this paper applies and critiques an analytical framework that has been used for examining intersemiotic complementarity in various types of page-based multimodal texts by (...) analysing a cartoon satirizing the demands that verdict deliberations can make on a citizen jury seated in a Crown Court. While the multimodal analysis reveals that a straightforward application of this analytical framework is useful in and of itself, it is argued that the framework needs to be extended to also account for further and more complex layers of represented meaning. The analysis is also situated in the wider legal social semiotic, and draws attention to international debates on the efficacy of the jury system itself. (shrink)

Is visual argumentation possible? My personal opinion is that it is, despite of the burden of verbal argumentation and the numerous critiques made against visual arguments. Insofar as most of these critiques are related to the difference between words and images, I will focus my paper on this issue, which is a theoretical one, as it seems to me that taking these critiques seriously is a first step before analyzing concretely how visual arguments work.

This article addresses the phenomenology of aesthetic experience. It first, critically, considers one of the most influential approaches to the psychophysics of aesthetic perception, viz. neuroaesthetics. Hereafter, it outlines constitutive tenets of aesthetic perception in terms of a particular intentional relation to the object. The argument comes in three steps. First, I show the inadequacies of the neuroaesthetics of beauty in general and Semir Zeki’s and V.J. Ramachandran’s versions of it in particular. The neuroaesthetics of beauty falls short, because it (...) develops hypotheses of aesthetic experience which have no consequences for the understanding of what art is, that is, how artists produce visual meaning effects in their works. This is so because they make the rewarding feeling of beauty the cornerstone of aesthetic experience. Next, I show why and how aesthetic experience should be defined relative to its object and the tools for meaning-making specific to that object, and not relative to the feeling (of beauty) it may elicit. Finally, I sketch the import this fact may have on a research program in empirical aesthetics. (shrink)

This reply to five continuing commentaries on my 1991 target article on “Is human information processing conscious” focuses on six related issues: 1) whether focal attentive processing replaces consciousness as a causal agent in third-person viewable human information processing, 2)whether consciousness can be dissociated from human information processing, 3) continuing disputes about definitions of "consciousness" and about what constitutes a “conscious process” , 4) how observer-relativity in psychology relates (and does not relate) to relativity in physics, 5) whether the first-person (...) viewable causal efficacy of consciousness counts as ‘real’ causal efficacy and 6) a clarification of the sense in which first- and third-person causal accounts of mental processing are complementary and mutually irreducible. (shrink)

There has been much debate regarding when modern human cognition arose. It was previously thought that the technocomplexes and artifacts associated with a particular timeframe during the Upper Paleolithic could provide a proxy for identifying the signature of modern cognition. It now appears that this approach has underestimated the complexity of human behavior on a number of different levels. As the artifacts, once thought to be confined to Europe 40,000 years ago onwards, can now be found in other parts of (...) the world well before this date, especially in South Africa, this suggests that modern cognition arose well before this period. Moreover, the variability of the archaeological record from the time when anatomically modern humans appeared 200,000 years ago suggests cognitive factors alone are unable to explain the obvious unevenness. In this article, it will be demonstrated how neuro-cognition can be assimilated with population dynamics and the transmission of information between individuals and groups that can provide important insights as to the nature and origins of modern human cognition. (shrink)

The paper attempts to analyze in some detail the main problems encountered in reasoning using diagrams, which may cause errors in reasoning, produce doubts concerning the reliability of diagrams, and impressions that diagrammatic reasoning lacks the rigour necessary for mathematical reasoning. The paper first argues that such impressions come from long neglect which led to a lack of well-developed, properly tested and reliable reasoning methods, as contrasted with the amount of work generations of mathematicians expended on refining the methods of (...) reasoning with formulae and predicate calculus. Next, two main groups of problems occurring in diagrammatic reasoning are introduced. The second group, called diagram imprecision, is then briefly summarized, its detailed analysis being postponed to another paper. The first group, called collectively the generalization problem, is analyzed in detail in the rest of the paper. The nature and causes of the problems from this group are explained, methods of detecting the potentially harmful occurrences of these problems are discussed, and remedies for possible errors they may cause are proposed. Some of the methods are adapted from similar methods used in reasoning with formulae, several other problems constitute new, specifically diagrammatic ways of reliable reasoning. (shrink)

The concept of microgenesis refers to the development on a brief present-time scale of a percept, a thought, an object of imagination, or an expression. It defines the occurrence of immediate experience as dynamic unfolding and differentiation in which the ‘germ’ of the final experience is already embodied in the early stages of its development. Immediate experience typically concerns the focal experience of an object that is thematized as a ‘figure’ in the global field of consciousness; this can involve a (...) percept, thought, object of imagination, or expression (verbal and/or gestural). Yet, whatever its modality or content, focal experience is postulated to develop and stabilize through dynamic differentiation and unfolding. Such a microgenetic description of immediate experience substantiates a phenomenological and genetic theory of cognition where any process of perception, thought, expression or imagination is primarily a process of genetic differentiation and development, rather than one of detection (of a stimulus array or information), transformation, and integration (of multiple primitive components) as theories of cognitivist kind have contended. My purpose in this essay is to provide an overview of the main constructs of microgenetic theory, to outline its potential avenues of future development in the field of cognitive science, and to illustrate an application of the theory to research, using visual processes in reading as an example. (shrink)

Modelling became one of the primary tools of mathematical economic research in the twentieth century, but when we look at examples of how nonanalogical models were first built in economics, both the process of making representations and aspects of the representing relation remain opaque. Like early astronomers, economists have to imagine how the hidden parts of their world are arranged and to make images, that is, create models, to represent how they work. The case of the Edgeworth Box, a model (...) widely used for theoretical work in twentieth-century economics, provides a good example to explore the process of making mathematical representations of the economy. It shows how, in making these new representations, conceptual elements were developed which could not have been represented in the older verbal forms of economics. (shrink)

In this paper, I give an account of how our hominin ancestors evolved a conscious ability I call scenario visualization that enabled them to manufacture novel tools so as to survive and flourish in the ever-changing and complex environments in which they lived. I first present the ideas and arguments put forward by evolutionary psychologists that the mind evolved certain mental capacities as adaptive responses to environmental pressures. Specifically, Steven Mithen thinks that the mind has evolved cognitive fluidity, viz., an (...) ability to exchange information flexibly between and among mental modules. Showing the deficiency in Mithen’s view, I then argue that the flexible exchange of information between and among modules together with scenario visualization is what explains the ability to construct the novel tools needed to survive and flourish in the environments in which our hominin ancestors resided. Finally, I trace the development of the multi-purposed javelin, from its meager beginnings as a stick, in order to illustrate scenario visualization in novel tool manufacturing. (shrink)

Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...) Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly. (shrink)

From 2012 to 2015 I was the first Eugene H. Fram Chair in Applied Critical Thinking at Rochester Institute of Technology, in Rochester, NY. To the best of my knowledge it is the only such endowed position devoted solely to this at a major North American university. It was made possible by a generous 3 million dollar gift from an anonymous alumnus who wished to honor a retired faculty member who had taught for 51 years. The honoree was revered for (...) his devotion to Bloom’s taxonomy and his academic rigor, which infused case studies and the Socratic method. A primary motivation for the chair was a belief that an alarming number of college graduates lack the necessary critical thinking skills in order to advance successfully in their careers. My responsibilities included collaborative leadership, advocacy and oversight for critical thinking across the entire campus. It provided a unique opportunity to reflect on the current state of critical thinking instruction–very broadly construed, as well as to examine its specific role at RIT, an institution with its own unique history, mission, and character. (shrink)

This paper provides a précis of Ernst Cassirer’s concept of art as a symbolic form. It does so, though, in a specific respect. It points to the fact that Cassirer’s concept of “symbolic form” is two-sided. On the one hand, the concept captures general cultural phenomena that are not only meaningful but also manifest the way man makes sense of the world; thus myth, religion, and art are considered general symbolic forms. On the other hand, it captures the formal structures (...) and semiotic tools thanks to which meaning is constructed within each general symbolic form ; thus, in art, perspective or the golden section are well-known examples of symbolic forms, now in a narrow sense, i.e. they are means to configure parts into an organized, meaningful whole. The paper will comment on art along both these two dimensions, but its main goal is to provide with concrete examples of aesthetic symbolic forms in the narrow sense in order to show how conceptual meaning can be inscribed in the space of aesthetic intuition. (shrink)

An important issue for visual argumentation is its relationship to propositions, since it has been argued that, in order to be arguments, images should be propositional. The first part of the paper will approach this debate from a theoretical perspective. After quickly surveying the field on the issue, I will address the relationship between images and propositions. Three specific questions will be examined: can propositions accurately account for the way images express arguments?; are verbal propositions necessary to reconstruct arguments that (...) images alone cannot convey, due to their lacking linguistic tools?; are images essentially non-propositional because they don’t have truth-value? The second part of the paper will include a detailed analysis of two posters. From these analyses, I will ultimately conclude that some images can display a visual argument without necessarily being propositional. (shrink)

This paper considers the extent to which the earliest stages of learning about systems of inscription requires not just individual mental effort, but effort that is distributed across a wide physical and intellectual environment. It is particularly concerned with how children under the age of three learn about notational systems, including writing, and examines parallels with the evolution of written systems. It considers the position that children gain knowledge incrementally over the early months and years of life, supported by a (...) commonly accepted view that learning is a mental activity in which knowledge accumulates hierarchically in the minds of individual children, starting with smallest parts of the system. The paper presents evidence to the contrary, suggesting that the early learning of inscriptional systems is associated not just with individual minds, but with social and cultural cognition that is dispersed across minds, bodies, tools, and material environments. It presents data and evidence from a small study of the sign-making of children under the age of three that indicates that children of this age already use notations purposefully in the construction of signs that are intentional, multimodal, and unbounded, and that already have features associated with conventional systems of inscription. In their early sign-making they use certain underlying principles of symbolic reference associated with conventional systems, including the use of ‘generic’ structures derived from social, bodily, and material experience. Central to this process are networks of interactions between co-participants, tools, materials, and the physical environment. (shrink)

Recommended: Edo Airoldi, David M. Blei, Stephen E. Fienberg, Anna Goldenberg, Eric P. Xing and Alice X. Zheng (eds.), Statistical Network Analysis: Models, Issues, and New Directions [Disclaimer: contains one of my papers .] Aaron Clauset and Cristopher Moore, "Accuracy and Scaling Phenomena in Internet Mapping", cond-mat/0410059 = Physical Review Letters 94 (2005).

This paper studies the semiotic,epistemological and historical aspects of Berzelianformulas in early nineteenth-century organicchemistry. I argue that Berzelian formulas wereenormously productive `paper tools' for representingchemical reactions of organic substances, and forcreating different pathways of reactions. Moreover, myanalysis of Jean Dumas's application of Berzelianformulas to model the creation of chloral from alcoholand chlorine exemplifies the role played by chemicalformulas in conceptual development (the concept ofsubstitution). Studying the dialectic of chemists'collectively shared goals and tools, I argue thatpaper tools, like laboratory instruments, areresources (...) whose possibilities are not exhausted byscientists' attempts to achieve existing goals, butrather whose applications generate new goals. The term`paper tools' is introduced to emphasize that thepragmatic and syntactic aspects of symbol systems arefully comparable to physical laboratory tools. (shrink)

Everyone appreciates a clever mathematical picture, but the prevailing attitude is one of scepticism: diagrams, illustrations, and pictures prove nothing; they are psychologically important and heuristically useful, but only a traditional verbal/symbolic proof provides genuine evidence for a purported theorem. Like some other recent writers (Barwise and Etchemendy [1991]; Shin [1994]; and Giaquinto [1994]) I take a different view and argue, from historical considerations and some striking examples, for a positive evidential role for pictures in mathematics.

The iconic revolution changing the routine of everyday communication is gradually leading to the creation of a linguistic structure that combines visual and verbal tools in both formal and semantic aspects. Computer and mobile applications today enable high-tech imaging that ensures the spread of iconic communication in mundane interactions and the possibility of a creative combination of verbal and iconic codes for language users who navigate in a world of images in an increasingly confident manner. The iconic revolution that accompanies (...) this expansion of new communication technologies thus leads to serious changes in language use, thereby enhancing the transmission of verbal and iconic language to become a key element of mundane communication. This article argues that this turn in communication technology guided the attention of Kristóf Nyíri, an eminent figure in contemporary Hungarian philosophy, to the problem of the relationship between icon, language, and tradition. The aim of the present essay is twofold: to shed light on the relevance of Nyíri’s analysis and thoughts on the relationship between tradition and language in the history of communication, and to identify, using Nyíri’s model of pictorial meaning as a starting point, the relevant aspects of the conception of technological determinism in answering questions from the philosophy of language and mind. (shrink)

The Society for Gestalt Theory and its Applications (GTA) is celebrating its 40th anniversary this year. The task of this article was to give a selection of gestalt theoretical research, which was created within the framework of the GTA. After a brief introduction to the theory, recent developments that have emerged since the founding of the Society and have found expression in the journal Gestalt Theory, as well as in many other publications, have been discussed. A number of contributions to (...) the fundamental area could be cited: consciousness research, multifield approach, synergetics, language, development, and so on. The transfer of basic knowledge to a number of application-oriented disciplines, namely, psychotherapy, education, arts, culture, nation and society, organizations, and so on, has been presented. The article has shown that Gestalt theory has great relevance in both basic and application-related areas and can cover a wide range of issues. (shrink)

Based on the field of aesthetics, for centuries philosophers and more recently scientists have been concerned with understanding the artistic experience focusing on emotional responses to the perception of artworks. By contrast, in the last decades, evolutionary biology has been concerned with explaining the artistic experience by focusing on the cognitive processes underlying this experience. Up until now, the cognitive mechanisms that allow humans to experience objects and events as art remain largely unexplored and there is still no conventional use (...) of terms for referring to the processes which may explain why the artistic experience is characteristically human and universal to human beings (Dissanayake, 1992, p. 24; Donald, 2006, p. 4). In this paper, I will first question whether it is productive to understand the artistic experience in terms of perception and emotion, and I will subsequently propose a possible alternative explanation to understand this experience. Drawing upon the work of Ellen Dissanayake (1992, 2000, 2015), Merlin Donald (2001, 2006, 2013), Antonio Damasio (1994, 2000, 2003, 2010), Barend van Heusden (2004, 2009, 2010), and Alejandra Wah (2014), I will argue that this experience is characterized by particular degrees of imagination and consciousness. (shrink)