There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as (...) innovative as the conduction of a dialogue in a museum. Results were mostly positive. Pupils participated in the discussion and they gave intensive definitions of beautiful paintings and counterexamples for given definitions. The structure of inductive arguments and the difference between belief and knowledge were discussed. Progress in the analysis of inductive arguments was slightly noticeable, but it is likely that this was due to limited time spent on analysing those arguments. Furthermore, more sessions are needed to make generalisations for the effectiveness of the Philosophy for Children program in a museum instead of a traditional classroom. Even though there is discussion about the different stimuli of the discussion, it might be worth considering the effectiveness of different contexts where the discussion can take place. (shrink)

This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic value. The case studies presented here involve four objects from the collection of the (...) Hunterian Museum as sensed and interpreted by scholars of psychology, philosophy, sociology, and anthropology. It is proposed that aesthetic judgment in the expanded (cross-cultural) sense contemplated here involves apprehending the museum object through multiple sensory modalities in place of the conventional Western fixation on visible form. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make (...) a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

This article argues that understanding any space or site relies on a knowledge of its fourth dimension - the timescape. It will explore this by situating the investigation in the museum - a place of heightened contrivance which could easily be shallowly interpreted as "mere style". It will defend a new method of investigating museum temporality which combines both phenomenology and literary theory, and will replace the idea of geo-epistemology with geochronic epistemology: an understanding of context and situation (...) which takes on time as well as spatial location. In so doing, it moves on from notions of the museum as a place out of time, situating it in the networks of meaning, power and politics in which we have lived and are living. Thus, "the whole space of the exhibition" as Lyotard said, "becomes the remains of all time": the Museum on the Edge of Forever. (shrink)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of the rapid (...) changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

Museums lose their conceptual complexity and polysemy under conditions of war, forced confrontation, and struggles for survival, which may lead to a loss of diversity in the long run. Parametric General Systems analysis allows us to consider a museum as a system and to explore substratum, structural, and conceptual types of simplicity and complexity. Such qualitative analysis makes it possible to move the discussion from the ideological and value sphere to the field of rational and science-based justification. This justification, (...) in turn, illustrates why it is important to maintain complex interpretations in Ukrainian museums during the current war. (shrink)

The aim of this workshop was to ask potential end-users of the citizens’ information pack on legal and ethical issues around ICTs the following questions: What is your knowledge of the EU’s General Data Protection Regulation, and what actions have you taken in response to these regulations? What challenges are you experiencing in ensuring the protection and security of your project data, and compliance with the GDPR, within existing data management processes/systems? What information/tools/resources do you need to overcome these (...) challenges? What are the best formats/channels for receiving, sharing and acting upon this information? What is the most appropriate structure/format for the citizens’ information pack? (shrink)

This paper is about Cultural Organizations Management, more specifically, in Museums Management, and it is framework in Balanced Scorecard. The paper focuses on one of the perspectives, known as the customer perspective, which is divided into two parallel dimensions, the Visitor's Perspective, and the Social Demand Perspective. It should be noted that typology of museums is diverse, and each organization has a unique mission, a strategic plan according to it and, therefore, its own balanced scorecard. But there may be common (...) strategic objectives and indicators that are useful for managing different museums. The objective of this paper is to be able to provide indicators that facilitate cultural management in the design of a Balanced Scorecard. Likewise, having general indicators allows comparability between different organizations, and provides a useful tool to evaluate the management of a group of museums in a community or region. This paper shows the different ways museums can increase visitors, either through the permanent collection, temporary exhibitions, the online collection, or the opportunity’s provided by Museum Friends Association. Indicators are proposed to meet the strategic objective of increasing visitors in its different types. Likewise, emphasis is placed on Social Demand, which is user's demand for certain heritage assets, including museums. (shrink)

This richly illustrated book offers new perspectives and research on how digital culture is transforming museums in the 21st century, as they strive to keep pace with emerging technologies driving cultural and social change, played out not only in today’s pervasive networked environment of the Internet and Web, but in everyday life, from home to work and on city streets. In a world where digital culture has redefined human information behavior as life in code and digits, increasingly it dominates human (...) activity and communication. These developments have radically changed the expectations of the museum visitor, real and virtual, the work of museum professionals and, most prominently, the nature of museum exhibitions, while digital art and life in a digitally saturated world is changing our ways of seeing, doing, our senses and aesthetics. -/- Overall, this book creates a new picture of the 21st-century museum field. As museums become shared spaces with their communities, local, national and global and move from collection-centered to user-/visitor-centered institutions, they are assuming new roles and responsibilities tied to new goals for engaging their audience, conveying meaning through collections, creating learning experiences and importantly, connecting to daily digital life and culture integral to the museum ecosystem. Our studies of recent exhibitions at museums leading change are used to exemplify new directions, while they point to a reimagined vision for museums of the future at the heart of which is the integration of digital culture and visitor experience and participation in real and virtual space. (shrink)

The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, Henri IV (...) decided to unite the palace of the Louvre with the palace of the Tuileries built by Catherine de Medicis. The Cour Carrée was built by the architects Lemercier and then Le Vau, under the reign of Louis XIII and Louis XIV. The Department of Paintings currently has about 7,500 paintings (of which 3,400 are exposed), covering a period that goes from the Middle Ages to 1848 (date of the beginning of the Second Republic). By including the deposits, the collection is, with 12,660 works, the largest collection of ancient paintings in the world. With rare exceptions, the works after 1848 were transferred to the Musée d'Orsay when it was created in 1986. CONTENTS: Louvre Museum - Variety of exhibited works - The Royal Palace - The collections - - Eastern antiquities - - Arts of Islam - - Egyptian Antiquities - - Greek, Etruscan and Roman Antiquities - - Paintings - - - French school - - - Northern Schools (Flanders, Netherlands, Germany) - - - Italian School - - - Other schools Painting - Definitions - Painting genres - - The landscape - - Still life Paintings - FRANCOIS BOUCHER - - Vulcan presenting arms to Venus for Aeneas - RAPHAEL - - Portrait of Baldassare Castiglione - RUBENS - - Helena Fourment with children - LOUIS DAVID - - Madame Récamier - REMBRANDT - - Portrait of Heindrickje Stoffels - VELAZQUEZ - - Portrait of the Infanta Margarita - SIMONE MEMMI - - Jesus Christ walking on Calvary - JAN STEEN - - The Bad Company - HANS HOLBEIN - - Erasmus - CORREGGIO - - Mystic Marriage of Saint Catherine - LANCRET - - Conversation - JAN VAN DER MEER (VERMEER) - - The Lacemaker - VAN DYCK - - Charles I at the Hunt - FRANÇOIS CLOUET - - Elisabeth of Austria (1554-1592), Wife of Charles IX and Queen of France (1570 - 1574) - DELACROIX - - The Barque of Dante - EL GRECO - - Saint Louis, King of France, and a page - REMBRANDT - - Pilgrims at Emmaus (The Supper at Emmaus) - GERARD DAVID - - Marriage at Cana - RAPHAEL - - Portrait of Dona Isabel de Requesens, Vice-Queen of Naples - RUBENS - - La Kermesse (The Village Fête, or Noce de village) - FRANS HALS - - The Gypsy Girl - DECAMPS - - The Sonneurs - HOLBEIN THE YOUNGER - - Anne of Cleves - P. PRUD’HON - - Psyche transported to Heaven - PHILIPPE DE CHAMPAIGNE - - Portrait of Richelieu - LANCRET - - The Autumn - L. DAVID - - Madame Seriziat - COROT - - Recollection of Mortefontaine - LEONARDO DA VINCI - - La belle ferronnière - CORREGGIO - - Venus and Cupid with a Satyr - WATTEAU - - Pilgrimage to Cythera (The Embarkation for Cythera) - NICOLAS POUSSIN - - The Inspiration of the Poet - PRUD’HON - - The Empress Josephine (1763-1814) - FRAGONARD - - The Bathers - H. RIGAUD - - Louis XIV (1638–1715) - TERBURG - - The Concert - LEOPOLD ROBERT - - The Pilgrimage to the Madonna of the Arch - LARGILLIERE - - Family Portrait - MANTEGNA - - Parnassus - MEMLING - - The Virgin and Child between St James and St Dominic - FRAGONARD - - The Music Lesson - JEAN VAN EYCK - - The Virgin of chancellor Rolin - PAOLO VERONESE - - Susannah and the Elders - FRANÇOIS BOUCHER - - Diana leaving her bath - GÉRICAULT - - The Raft of the Medusa - MURILLO - - Assumption of the Virgin - CLAUDE GELLEE (LORRAIN) - - Ulysses returning Chryseis to her father (Marine, setting sun) - INGRES - - Madame Riviere - E. MURILLO - - The Young Beggar - GREUZE - - The Broken Pitcher - PIETER DE HOOCH - - Card players in an opulent interior - POUSSIN - - Et in Arcadia ego - QUENTIN MATSYS - - The moneylender and his wife - ANDREA SOLARIO - - Madonna with the Green Cushion - TITIEN - - Woman with a Mirror - DAVID TENIERS (the Younger) - - The Works of Mercy - LEONARDO DA VINCI - - Mona Lisa (La Gioconda) - Armand Dayot . (shrink)

To commemorate the tragic event of Super Typhoon Yolanda (International Name: Haiyan) last 2013, local leaders of the province of Leyte, Philippines, are speculating on establishing a Haiyan Museum in 2023, a decade later. With connotations of ‘dark tourism’, one way to look at the speculative decade-inspired establishment is through Amy Sodaro’s ‘memorial museums’ with the purpose of ‘education-based memorialization.’ Juxtaposing this with Paul Morrow’s philosophical perception of objects in memorial museums as possible provocateurs of repulsive feelings, there is (...) a lingering suspicion of whether exhibits in the museum can really flesh out educational, therapeutic reflections or healing. Then, the crucial question to be addressed is: will this Haiyan Museum house feelings of healing, 10 years later, or trauma? To answer this question, I take insights from survivor-curators or the museum curators of Region VIII, Philippines, who experienced the Haiyan tragedy at, or proximate to, the landfall and aftermath first-hand. The notion of a ‘survivor-curator’ is a vital coinage that would represent a close perception of the museum and its museum objects. The responses are then thematised into a more coherent discussion to see how museums can be spaces of healing in their communal aspect and future museum projects. (shrink)

The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, (...) as an “unfortunate” consequence, those artists who wished to become famous were not able to avoid certain art institutions, such as museums, galleries, curators or critics. Until now. The internet, especially Facebook, provide genuinely new options/ opportunities for the virtual display of art pieces, an option that artists are eager to take advantage of. In the following, I will present the process of expansion of the public artistic sphere, I will attempt to show why Facebook serves well as a public artistic arena, and finally, I will present some salient Facebook-art-projects. The presented projects will include works by a street artist (Banksy), a performance artist (Gusztáv Ütő) and a graphic designer (Dan Perjovsky). These three artists are intrigued by current social issues, which are usually reflected in their works, also they all wish to spread their messages to the widest possible public. On of their favorite channels is the Facebook Wall. (shrink)

In 2020, TICCIH published its thematic study on oil heritage, the first global assessment of the heritage of petroleum production and the oil industry, and of the places, structures, sites, and landscapes that might be conserved for their historical, technical, social, or architectural attributes. In many cases, the petroleum production sites and historical infrastructures, situated in corrosive and fragile landscapes, are costly to conserve, challenging to re-use, and pre-function considering their contribution to climate change. TICCIH also included the proposals for (...) criteria to evaluate this heritage and priorities for conserving the most important sites, ensembles, and landscapes, from regional inventories up to World Heritage sites. In this report, the heritage of the petroleum industry is defined as ‘the most significant fixed, tangible evidence for the discovery, exploitation, production, and consumption of petroleum products and their impact on human and natural landscapes’. While the importance of the historical evidence for the oil industry as a tangible cultural heritage is self-evident, it is also challenging to define an integrated and holistic strategy from a conversation point of view. For achieving holistic and methodological re-use strategies, it is required to reconsider various factors such as national policies and economic systems. (shrink)

This report highlights and explores five questions that arose from the multisensory integration workshop at the University of Toronto on May 9th and 10th, 2014: 1. What Is Multisensory Integration? 2. Do Multisensory Percepts Involve Emergent Features? 3. What Can Multisensory Processing Tell Us about Multisensory Awareness? 4. Is Language Processing a Special Kind of Multisensory Integration? 5. What Is the Purpose of Multisensory Integration?

This report highlights and explores four questions that arose from the workshop on temporal experience at the University of Toronto, May 20th and 21st, 2013.

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: Do we have one central clock for time, or different clocks for each sense modality?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What sorts of mechanisms underlie the perceived duration of external events?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What can we learn about the nature of time from the nature of ordinary experience?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What is the relationship between time as represented in experience, the timing of the experiential act, and the timing of the neural realizer of the experience?

This is an excerpt from a report on the workshop on multisensory integration at the University of Toronto, on May 9th and 10th, 2014, written by Kevin Connolly, Aaron Henry, Zoe Jenkin, and Andrew MacGregor, and available at: http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This excerpt explores the question: What is multisensory integration?

This is an excerpt from a report on the workshop on multisensory integration at the University of Toronto, on May 9th and 10th, 2014, written by Kevin Connolly, Aaron Henry, Zoe Jenkin, and Andrew MacGregor, and available at: http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This excerpt explores the question: Do multisensory percepts involve emergent features?

This is an excerpt from a report on the workshop on multisensory integration at the University of Toronto, on May 9th and 10th, 2014, written by Kevin Connolly, Aaron Henry, Zoe Jenkin, and Andrew MacGregor, and available at: http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This excerpt explores the question: What can multisensory processing tell us about multisensory awareness?

This is an excerpt from a report on the workshop on multisensory integration at the University of Toronto, on May 9th and 10th, 2014, written by Kevin Connolly, Aaron Henry, Zoe Jenkin, and Andrew MacGregor, and available at: http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This excerpt explores the question: What is the purpose of multisensory integration?

This is an excerpt from a report on the workshop on multisensory integration at the University of Toronto, on May 9th and 10th, 2014, written by Kevin Connolly, Aaron Henry, Zoe Jenkin, and Andrew MacGregor, and available at: http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This excerpt explores the question: Is language processing a special kind of multisensory integration?

Among the various functions of museums are the notions that they attract, entertain and arose curiosity in visitors, which leads to questioning thus promoting learning. This 21st century shows many new needs and preoccupations of contemporary society relating to museums. Although there are many, access to museums, professionalism, the nature of museums, issues of collection and management are all highlighted as being particularly significant. Running across all these issues is the recurrent theme of the relationship between a museum and (...) tourism. Therefore, the main objective of the study was to assess the condition of the Ethnographic Museum (Fetewrari Belay Ethnographic House) in Aksum and its contribution to tourism development. For the methodology, a descriptive research design inculcating quantitative and qualitative aspects was used. Samples were drawn from tourism service providers, targeted professionals, church and local community representatives and visitors by applying both probability and non-probability sampling methods. Finally, the major findings of the study show that the Ethnographic Museum of Aksum is the custodian of immense private heritage, inter alia the building, clothes, crosses, pottery, wood items, clay items, artifacts, and gifts to the Afterari, etc. The museum also has excellent tourism potential, however because of its mismanagement and lack of promotion from both the owner and the concerned tourism bodies it is not visited as much as it could be. (shrink)

In recent years, the human ability to reasoning about mental states of others in order to explain and predict their behavior has come to be a highly active area of research. Researchers from a wide range of fields { from biology and psychology through linguistics to game theory and logic{ contribute new ideas and results. This interdisciplinary workshop, collocated with the Thirteenth International Conference on Theoretical Aspects of Rationality and Knowledge (TARK XIII), aims to shed light on models of (...) social reasoning that take into account realistic resource bounds. People reason about other people's mental states in order to understand and predict the others' behavior. This capability to reason about others' knowledge, beliefs and intentions is often referred to as theory of mind. Idealized rational agents are capable of recursion in their social reasoning, and can reason about phenomena like common knowledge. Such idealized social reasoning has been modeled by modal logics such as epistemic logic and BDI (belief, desire, intention) logics and by epistemic game theory. However, in real-world situations, many people seem to lose track of such recursive social reasoning after only a few levels. The workshop provides a forum for researchers that attempt to analyze, understand and model how resource-bounded agents reason about other minds. (shrink)

I address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be (...) particularly aesthetically valuable at all. Second: to what ontologicaltypeorcategorydo museum objects belong? Whattypeof item should be featured on an inventory of a museum collection? I distinguish betweentypicalobjects andspecialobjects. While these are different types of object, both, I argue, areabstracta, notconcreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects. (shrink)

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: What is perceptual learning?

This comprehensive volume features the proceedings of the Third International Workshop on Logics for New-Generation Artificial Intelligence and the International Workshop on Logic, AI and Law, held in Hangzhou, China on September 8-9 and 11-12, 2023. The collection offers a diverse range of papers that explore the intersection of logic, artificial intelligence, and law. With contributions from some of the leading experts in the field, this volume provides insights into the latest research and developments in the applications of (...) logic in these areas. It is an essential resource for researchers, practitioners, and students interested in the latest advancements in logic and its applications to artificial intelligence and law. (shrink)

The aim of this paper is to have a better architectonic insight over the museum of Gjergj Kastriot Skanderbeg in the city of Kruja. The history for which Albanians are proud will be the focus of this paper from its genesis until now, always seeing its architectural perspective. The castle as the last resistance of Albanians at the time of Turkish occupation will be analyzed; together with the mode of implementation of the new Museum Gjergj Kastriot Skenderbeu at (...) the time of socialism. Who were the ideas of the ideologies of the time? What were the secrets of the building design? What were the secrets of the construction of the building? What were the motivations and inspirations of the architects and the design group? The paper will contain historical dating, direct interviews with architects of the building, and authentic architectural analysis of the building. Museum of Kruja is a work that belongs not only to Albanians but all of Europe and Balkan. Today it is one of the most visited works throughout the country. (shrink)

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: Can perceptual experience be modified by reason?

This report highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York on March 19th and 20th, 2012: 1. What is perceptual learning? 2. Can perceptual experience be modified by reason? 3. How does perceptual learning alter perceptual phenomenology? 4. How does perceptual learning alter the contents of perception? 5. How is perceptual learning coordinated with action?

“The Sustainable Development Goals (SDGs)”, are a universal call for action, covering targets to be fulfilled by the end of 2030. Many global problems such as global climate change and drought, environmental pollution, depletion of natural resources and biodiversity, inclusive education have evolved into the greatest collective problem of all humanity. It is recognized that teachers, are also responsible for ensuring a sustainable life for future generations and contributing to its sustainability. At this point, there is a need for educational (...) approaches based on group dynamics that will contribute to the socialization of the individual, support them to gain new experiences, provide them with the opportunity to produce solutions to the encountered obstacles, be sensitive to human values, have a questioning perspective, support them in processes that will enable critical, collaborative, attentive and creative thinking skills, and guide them in processes that will enable them to activate their critical, collaborative, attentive and creative thinking skills. Philosophy and creative drama practices for children based on these educational approaches are among two of the methods that are thought to be effective in addressing and questioning development goals and developing solutions for individuals who are learning about the actions that can be carried out. The research, which is designed to convey this universal call for action to children through the teachers of the future and to support them to be an active part of this process, is based on three components: sustainable development goals, creative drama and philosophy for children, and a sample workshop plan is presented. (shrink)

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: How does perceptual learning alter perceptual phenomenology?

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: How does perceptual learning alter the contents of perception?

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: How is perceptual learning coordinated with action?

Social activity and public involvement in participatory practices, and the creation of civic spaces on the basis of the museum have become relevant for the formation of the concept of a modern museum. Such practices are especially important in times of crisis when history is being documented online and the Rapid Response Collecting (RRC) method is becoming widespread. Modern war discourse requires the newest forms of archiving and description because the recording of history is complicated by the volatility (...) of the military situation, the movement of large flows of displaced persons, and the departure of citizens abroad. The Ukrainian experience of documenting the war is examined in the article taking the example of the ATO Museum (an acronym for anti-terrorist operation) in Dnipro and the online Museum of Civilian Voices. It is important for us to pay attention to the national peculiarities of the codification of collective memory through individual experience and life stories during the full-scale military aggression against Ukraine, and to show the newest forms of presenting the evidence of war. (shrink)

This report highlights and explores five questions that arose from the workshop on mind and attention in Indian philosophy at Harvard University, September 21st to 22nd, 2013: 1. How does the understanding of attention in Indian philosophy bear on contemporary western debates? 2. How can we train our attention, and what are the benefits of doing so? 3. Can meditation give us moral knowledge? 4. What can Indian philosophy tell us about how we perceive the world? 5. Are there (...) cross-cultural philosophical themes? (shrink)

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How do we recognize distinct types of emotion in music?

This is an excerpt from a report on the workshop on mind and attention in Indian philosophy at Harvard University, on September 21st and 22nd, 2013, written by Kevin Connolly, Jennifer Corns, Nilanjan Das, Zachary Irving, and Lu Teng, and available at http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This portion of the report explores the question: What can Indian philosophy tell us about how we perceive the world?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: What counts as cognitive penetration?

This report highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012: 1. How should we demarcate perceptual learning from perceptual development? 2. What are the origins of multimodal associations? 3. Does our representation of time provide an amodal framework for multi-sensory integration? 4. What counts as cognitive penetration? 5. How can philosophers and psychologists most fruitfully collaborate?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How should we demarcate perceptual learning from perceptual development?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How can philosophers and psychologists most fruitfully collaborate?