Cognitive Turn in Art History; Interview Mark Rowlands; Shamu en een gelukkig huwelijk
Posted by Prowisorio on Thursday, January 13, 2011 Under: filosofie
Cognitive turn in Art history
[...]Cognitive philosopher Alva Noë’s study, Action in Perception, analyzes visual perception from the perspective of neuroscience. As Noë observes, far from being precisely focused and expansive, our perceptual field consists of a small, central area of sharp focus called the fovea; the rest of the field becomes progressively blurry towards the edges. The silver (now oxidized to black) and gold frames of the miniatures in this manuscript suggest just such a blurriness, creating a halo of light around the image that may enhance “seeing-in” by mimicking the actual perceptual field of the reader-viewer.
Further, according to what Noë calls the enactive view, perceptual experience depends upon sensorimotor knowledge acquired through physical action.19 “How they (merely) appear to be plus sensorimotor knowledge gives you things as they are.”20 Noë uses the example of seeing objects overlapping in such a way that one occludes part of another; in the miniature of the Judgment of Solomon, for example, the true mother’s body occludes part of the deceitful mother’s body. But we know that her occluded body is complete because we draw on our experience of having moved our bodies in space to enable multiple points of view. Thus, perception results from appearance plus sensorimotor knowledge, or knowledge acquired through physical action. Perception, in other words, is a bodily experience.
Neuroscience has discovered, Noë reports, that “Perception is not a process of drawing an internal representation, so it seems implausible that pictures depict by producing the sort of representation in us that the depicted scene would produce.”21 He goes on to offer an alternative: “The enactive approach suggests a rather different conception of pictorial representation. Pictures construct partial environments. They actually contain perspectival properties such as apparent shapes and sizes, but they contain them not as projections from actual things, but as static elements. Pictures depict because they correspond to a reality of which, as perceivers, we have a sensorimotor grasp. Pictures are a very simple (in some senses of simple) kind of virtual space. What a picture and the depicted scene have in common is that they prompt us to draw on a common class of sensorimotor skills.”[...]
Making the Cognitive Turn in Art History: A Case Study, Pamela Sheingorn
Downloadpagina (pdf, epub, xml, zip)
Interview Mark Rowlands
Philosophy professor Mark Rowlands had two loves: philosophy and Brenin, a wolf he would bring along to his university classes. But Brenin was more than just an exotic pet. Their relationship led Rowlands to deeply examine his work and life.
The philosopher and the wolf (Podcastdirectory: CBC Radio Ideas 2009)
What Shamu Taught Me About a Happy Marriage
As I wash dishes at the kitchen sink, my husband paces behind me, irritated. "Have you seen my keys?" he snarls, then huffs out a loud sigh and stomps from the room with our dog, Dixie, at his heels, anxious over her favorite human's upset.
In the past I would have been right behind Dixie. I would have turned off the faucet and joined the hunt while trying to soothe my husband with bromides like, "Don't worry, they'll turn up." But that only made him angrier, and a simple case of missing keys soon would become a full-blown angst-ridden drama starring the two of us and our poor nervous dog.
Now, I focus on the wet dish in my hands. I don't turn around. I don't say a word. I'm using a technique I learned from a dolphin trainer.
What Shamu taught me about a happy marriage (The New York Times, Amy Sutherland, 2006)
[...]Cognitive philosopher Alva Noë’s study, Action in Perception, analyzes visual perception from the perspective of neuroscience. As Noë observes, far from being precisely focused and expansive, our perceptual field consists of a small, central area of sharp focus called the fovea; the rest of the field becomes progressively blurry towards the edges. The silver (now oxidized to black) and gold frames of the miniatures in this manuscript suggest just such a blurriness, creating a halo of light around the image that may enhance “seeing-in” by mimicking the actual perceptual field of the reader-viewer.
Further, according to what Noë calls the enactive view, perceptual experience depends upon sensorimotor knowledge acquired through physical action.19 “How they (merely) appear to be plus sensorimotor knowledge gives you things as they are.”20 Noë uses the example of seeing objects overlapping in such a way that one occludes part of another; in the miniature of the Judgment of Solomon, for example, the true mother’s body occludes part of the deceitful mother’s body. But we know that her occluded body is complete because we draw on our experience of having moved our bodies in space to enable multiple points of view. Thus, perception results from appearance plus sensorimotor knowledge, or knowledge acquired through physical action. Perception, in other words, is a bodily experience.
Neuroscience has discovered, Noë reports, that “Perception is not a process of drawing an internal representation, so it seems implausible that pictures depict by producing the sort of representation in us that the depicted scene would produce.”21 He goes on to offer an alternative: “The enactive approach suggests a rather different conception of pictorial representation. Pictures construct partial environments. They actually contain perspectival properties such as apparent shapes and sizes, but they contain them not as projections from actual things, but as static elements. Pictures depict because they correspond to a reality of which, as perceivers, we have a sensorimotor grasp. Pictures are a very simple (in some senses of simple) kind of virtual space. What a picture and the depicted scene have in common is that they prompt us to draw on a common class of sensorimotor skills.”[...]
Making the Cognitive Turn in Art History: A Case Study, Pamela Sheingorn
Downloadpagina (pdf, epub, xml, zip)
Interview Mark Rowlands
Philosophy professor Mark Rowlands had two loves: philosophy and Brenin, a wolf he would bring along to his university classes. But Brenin was more than just an exotic pet. Their relationship led Rowlands to deeply examine his work and life.
The philosopher and the wolf (Podcastdirectory: CBC Radio Ideas 2009)
What Shamu Taught Me About a Happy Marriage
As I wash dishes at the kitchen sink, my husband paces behind me, irritated. "Have you seen my keys?" he snarls, then huffs out a loud sigh and stomps from the room with our dog, Dixie, at his heels, anxious over her favorite human's upset.
In the past I would have been right behind Dixie. I would have turned off the faucet and joined the hunt while trying to soothe my husband with bromides like, "Don't worry, they'll turn up." But that only made him angrier, and a simple case of missing keys soon would become a full-blown angst-ridden drama starring the two of us and our poor nervous dog.
Now, I focus on the wet dish in my hands. I don't turn around. I don't say a word. I'm using a technique I learned from a dolphin trainer.
What Shamu taught me about a happy marriage (The New York Times, Amy Sutherland, 2006)
In : filosofie
Tags: filosofie "operante conditionering" "clicker training" "positieve bekrachtiging"
