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The Image and the Eye: Further Studies in the Psychology of Pictorial Representation
... Pedagogical assumption 1: Conducting visual analysis of noteworthy examples of visual communication within a learner's environment provides a means for learners to more deeply engage with visuals and learn from them. Barnes (2011), Gombrich (1982, Lester (2017), Stokes (2002), and Velders, Vries, and Vaicaityte (2007) all noted the importance of visual analysis in learning. Participants in this study corroborated this view by stating that they believed they learned when analysing visuals. ...
... Pedagogical assumption 8: Provide context-aware learning. Barnes (2011), Gombrich (1982, and Lester (2017) stated that context, that is the circumstances or environment for a visual message, needs to be considered when undertaking visual analysis. This presented a challenge for this learning model, because it is applied in a learner's unique and ever-changing environment. ...
Based on the presupposition that visual literacy skills are not usually learned unaided by osmosis, but require targeted learning support, this article explores how everyday encounters with visuals can be leveraged as contingent learning opportunities. The author proposes that a learner’s environment can become a visual learning space if appropriate learning support is provided. This learning support may be delivered via the anytime and anywhere capabilities of mobile learning (m-learning), which facilitates peer learning in informal settings. The study propositioned a rhizomatic m-learning model of visual skills that describes how the visuals one encounters in their physical everyday environment can be leveraged as visual literacy learning opportunities. The model was arrived at by following an approach based on heuristic inquiry and user-centred design, including testing prototypes with representative learners. The model describes one means visual literacy could be achieved by novice learners from contingent learning encounters in informal learning environments, through collaboration and by providing context-aware learning support. Such a model shifts the onus of visual literacy learning away from academic programmes and, in this way, opens an alternative pathway for the learning of visual skills. Implications for practice or policy: This research proposes a means for learners to leverage visuals they encounter in their physical everyday environment as visual literacy learning opportunities. M-learning software developers may find the pedagogical model useful in informing their own software. Educators teaching visual skills may find application of the learning model’s pedagogical assumptions in isolation in their own formal learning settings.
... The analytical perceptualism of Gombrich (1960Gombrich ( , 1982 can be regarded as the art-theoretical precursor of a neuroaesthetic interpretation of predictive coding. For Gombrich, seeing consisted of constantly reviewing and correcting processes of perception, which in both the production and reception of art raise verifiable questions in a positivistic sense. ...
... The analytical perceptualism of Gombrich (1960Gombrich ( , 1982 can be regarded as the art-theoretical precursor of a neuroaesthetic interpretation of predictive coding. For Gombrich, seeing consisted of constantly reviewing and correcting processes of perception, which in both the production and reception of art raise verifiable questions in a positivistic sense. ...
Can neurosciences explain art? No, but it can help us to understand why some images are more memorable and, thus, more successful than others. This article aims to identify certain factors that may influence the artistic success of photographic images. These factors are discussed within the contexts of basic neuropsychological concepts, visual perception, and visual memory. A new computational and neuroscientifically based model, the predictive coding theory, provides a powerful framework for integrating social and individual factors that influence aesthetic experience and activity. A case study of Dorothea Lange's iconic photograph Migrant Mother demonstrates the importance of identifiable factors that influence and determine a photograph's potential success. We are convinced that a future systemic approach will enable the complementary integration of neuroscientific, perceptual, cognitive, emotional, and sociopsychological insights through the framework of predictive coding theory with socioscientific, art-theoretical, and art-historical as well as neuro- and behavioral-economical models.
... It is necessary to consider that a visualization is a re-presentation, where something is presented with a specific intention that might not necessarily be understood by a user in the way intended (Rose, 2016). In addition, it is also a question of agreement between the visualization and the user, which can be described as "the beholders share" (Gombrich, 1982). This means that users need to contribute with their imagination and must accept the conditions for interaction with a given visual. ...
... This could be explained by their lack of experience with how things were represented in VR and the fact that they did not know what pattern to look for (Arnheim, 1969). Additionally, the VR representations did not resemble traditional engineering drawings (Feurgeson, 1994). The instructions provided on how to use the VR platform were limited, and that is because we wanted to explore to what extent the students would be able to complete an assembly task in VR without any further instructions. ...
A testbed was developed aiming to contribute to further knowledge on what is required from a VR application in order to be useful for planning of assembly tasks. In a pilot study the testbed was tested on students. The focus of the study was to explore the users’ behaviour, and to gain a better understanding of their experience using VR. The students experienced a gap between the real world and VR, which confirms theories that VR is not a copy or twin of an object or environment.
... Learning activities (such as learning music, handmade crafts, and painting) can better help children learn in the process of acquiring knowledge, as well as build a link between children's learning at school and their daily experiences [31]. A study about science education mentions that fine arts play a decisive role in science education [32], and further studies have shown that images are more likely to evoke human imagination than words [33]. The results of art education directly determine the results of the cultivation of children's innovative consciousness. ...
... Paintings contain both things in real life and things approaching real life [33]. Artworks combine all possible connected things within a valid range, and analyzing the content of paintings through scientific analysis methods is a way of analyzing the creative process and the creative consciousness of the creators. ...
Children’s paintings reflect their growth environments and psychological conditions, and these growth environments represent children’s family and educational environments in primary schools. The characteristics of these paintings change as children grow, and children’s expressiveness in the paintings also improves. Children’s paintings are a representation of their perceptions of things; children transform their perceptions into images that can be understood and observed by people. This research studies the growth characteristics of children based on professional painting techniques. A digital image analysis method was used to analyze the painting techniques of children aged between 7 and 13. The growth characteristics of the different age groups were combined to analyze the representative characteristics of children’s paintings at different ages. Lastly, the results of part of a questionnaire survey were used to assist in studying these characteristics. Analysis of these paintings shows that children have a poor ability to control the scale of the objects. Furthermore, the details of the objects are ignored, and children have a poor imitation ability. Young children have lower spatial cognitive abilities than older children, and girls prefer to participate in painting more than boys.
... Мифология. Культура» (Москва, 1991), Моль А. [15] «Социодинамика культуры» (перевод с французького Москва, 2005), Gombrich T. H. [21] «The Image and the Eye. Further Studies in the Psychology of Pictorial Representation» ( New York, 1982), Mondrian P. [22] «Dialogue on the New Plastic» (Massachusett, 1999), Urfalino P. [23] «L'invention de la politique culturelle» ( Paris, 1996). ...
... Тісно пов'язана з комунікацією, передачею інформацією і проблема пам'яті [8]. Традиції філософського теоретизування пам'яті в процесі художнього осягнення світу беруть свій початок ще у часи Античності та Середньовіччя [21]. В Античності формується уявлення, що пам'ять -це етап завершення сенсорного сприйняття, що стимулюється почуттями. ...
... O reflexo da pose aparece na mesa de vidro, que toma na imagem a função de espelho, pois se trata de um político transparente. Esse reflexo, e a ideia inconsciente de transparência, constroem o fenômeno da identificação social deste sujeito (Gombrich, 1984). ...
Este artigo apresenta uma análise comparativa das representações fotográficas da presidenta brasileira Dilma Roussef e do candidato à presidência Aécio Neves na Revista IstoÉ. Tendo como base a Análise Crítica do Discurso e os processos semióticos de conotação buscamos compreender quais preconceitos de gênero foram relacionados às imagens fotográficas de Dilma e de Aécio. A análise identificou estereótipos visuais vinculados ao não pertencimento feminino aos espaços públicos de poder, a racionalidade masculina em contraste com a histeria feminina, a vulnerabilidade e solidão das mulheres políticas e vinculações de Dilma à figura de bruxa. A análise expôs o tratamento desigual que Dilma Rousseff recebeu de parte da mídia brasileira ao desafiar os papéis tradicionais de gênero. A violência simbólica que sofreu quando ocupou o mais importante cargo do poder executivo marcarão a história do Brasil como uma retaliação midiática massiva.
... The artist teaches us to have a vision of things, says Gombrich [40,41], which makes our attention shift to an aspect of reality that we had never thought of before [42]. This was the fundamental premise of the research path undertaken; that is, to design and implement a different path of knowledge of the pictorial work, which could favor the viewer and support him in elaborating, entirely personally [43], the representation of the artist's message and, at the same time, favoring an immersive sense and allowing him to "enter" the canvas, rather than moving away. ...
“Entering” a canvas to examine and learn about the work from unexplored points of view is an experiential “journey” in an environment reconstructed through the use and integration of innovative technologies, such as descriptive geometry and digital photogrammetry, solid modeling and immersive photography. Generating a “sense of presence” in the viewer means connecting it with immediacy to the artist’s message and grasping even the most subtle elements of the painting that are difficult to understand, such as architectural inconsistencies or the play of perspectives that, very often, bring out the situations scripted, characterized by discoveries that prelude to the aesthetic pleasure as the multiplicity of meanings and the “stylistic overcoding” of the work is revealed. The research hypotheses were applied to a case study, or to the splendid “Last Supper” by the Flemish artist Gaspar Hovic, a canvas painted in oil (late 15th century AD) and kept in the Matrice SM Veterana Church di Triggiano (BA), where the representation of the suggestive moment of Jesus with the Apostles is carried out through numerous symbols, in an evocative architectural context rich in details. The pictorial subject provides a series of very interesting ideas suitable for research of the role of perspective. The inverse method of linear perspective was used to reveal the plants and sections corresponding to the perspective space of the painting, used as the basis for the reconstruction of the 3D model of the entire scenic composition. Although the painting represents the apparently rigorous application of the perspective technique, by “entering” the canvas it is possible to observe some exceptions to the geometric rules deliberately introduced by the artist, thus making the perspective restitution process an effective interpretative act of the work.
... Codes can therefore be seen as practises, something the society depends on such that over the years it has become so familiar to the members within a broad cultural society. They in the long run help to simplify phenomena in order to make it easier to communicate experiences (Gombrich, 1982). ...
... Thus, the expression is communicated through the ritualized gesture and intended not only to express but to produce the emotion in a suitably tuned receiver. Consequently, the successful communication (and the experience of expression) depends on the degree of empathy that was expected and aroused (Gombrich, 1982). Similarly, in a number of contemporary accounts, the perception of emotion in art and aesthetic experience is based on imitative and empathic responses that presumably recruit the brain systems concerned with biological motion, the mirror neurons, and the theory of mind (Freedberg & Gallese, 2007;Kandel, 2012;Zeki, 1999). ...
... unequal amplifying [anchorage] reducing [illustration] text 'ampli es' image image 'reduces' text equal [relay] 43 Ahmed Abdel-Raheem • Metaphoric moral framing and image-text relations in the op-ed genre idj 24(1), 2018, According to Forceville (1996), one of the big problems with analyzing pictures "is precisely that there is no such thing as a rigorous 'grammar' of a picture"say, a pictorial code (p. 73; but see, e.g., Gombrich 1982). However, "modern, visually-oriented society has considerably increased our ability to 'read' pictures" (Forceville 1996: 73;cf. ...
... 75 Also Gombrich point out that an image is translation or transformation but this transformation has to be reversed to obtain the required information. 76 In talking about visual concept and perception, it is not only a question of image perception but of perception in general. ...
A theoretical introduction into the cognitive science related to art and its interpretation. This study integrates psychological and aesthetic approaches and concepts in order to understand the complex processes of art and cinema, Visual experience of art is often kinetic, dynamic, and deals with psychological and imaginative forces.
... But our attention is being increasingly attracted by amazing reconstructions that may have the drawback of pushing the artefacts in the background. The studies conducted on visual perception by Rudolf Arnheim 6 (Arnheim1954) and Ernest Gombrich (Gombrich 1982) exhaustively 4 "While computer-based visualisation methods are now employed in a wide range of contexts to assist in the research, communication and preservation of cultural heritage, a set of principles is needed that will ensure that digital heritage visualisation is, and is seen to be, at least as intellectually and technically rigorous as longer established cultural heritage research and communication methods. At the same time, such principles must reflect the distinctive properties of computer-based visualisation technologies and methods". ...
This article discusses the role that new digital technologies play on conservation-restoration of fragmentary artefacts. Above all, the use of these tools is essential in case the artefacts have lost the formal unity and reach us without documentation concerning their original position, as in the case of the Roman frescoes from Sybaris, object of this study. The creation of virtual models proves as fundamental for the material and formal recomposition of the artefacts, especially in the creation of a new support and display choices. This last aspect required an analysis on the effects that virtual reconstructions and augmented reality have on visitors.
... Vasari was aware of the role of feedback as an essential aspect of drawing. Gombrich (1982) relates how Vasari admonished Giorgione's dispensing with preparatory drawings and what he saw as the Venetian artist's foolish failure to understand: "…that it is necessary to anyone who wants to arrive at a good composition and to adjust his inventions, first to draw them on paper so as to see how it all goes together. The reason is that the mind can neither perceive nor perfectly imagine inventions within itself unless it opens up and shows its conceptions to corporal eyes which aid it to arrive at a good judgement." ...
Nesta investigação, temos como objetivo compreender as vivências sócio-territoriais dos estudantes da Universidade do Porto. Trata-se de refetir sobre o conjunto de atores sociais que partilham a condição comum de serem estudantes, oriundos do território nacional, designadamente do espaço regional de proximidade que poderemos apelidar de Grande Porto ou mesmo Grande Região Metropolitana do Porto. Neste âmbito, e porque a inserção no ensino superior se refete também numa inserção territorial nova em termos de vivência quotidiana do espaço da cidade, o enfoque neste grupo particular aponta-nos para um aprender da cidade e um reaprender do espaço metropolitano, operando uma descoberta de espaços novos e de formas diferentes de relacionamento. Os grupos sociais fazem emergir diferentes e subjetivas territorialidades, construídas a partir de representações territoriais heterogéneas e formas alternativas de usufruir e relacionar-se neste espaço plurinodal. As atividades coevoluem com as aspirações, no quadro da vastidão de universos possíveis, mediadas pelas redes tecnológicas e as estruturas sociais. Assim, as dinâmicas no edifcado e as atividades associam-se a novas formas de apropriação e de vivência social urbana, que se expressam em representações territoriais multiformes. Aqui, assumem particular relevância as modalidades de representação simbólica dos espaços quotidianos da cidade, materializadas nos desenhos feitos pelos jovens acerca do seu espaço vivido na cidade e na metrópole. Assim, daremos conta do desenvolvimento, desde 2011, de uma matriz teórica e metodológica de representações sociais tendo em vista a compreensão e explicação de trajetos, redes sociais, espaços de pertença e de sociabilidade, indicadores fundamentais de reinterpretação juvenil e potenciadores de estratégias de participação cívica dos estudantes na cidade e metrópole.
... Academic works, on the other hand, have looked for empirical generalizations derived from comparing artists and time periods, or from performing behavioural studies of perceived balance, perceived symmetry, or aesthetic preference. This area of research is grounded in the pioneering work of psychologists, philosophers, and art historians such as Arnheim (1974), Fechner (1876), Gombrich (1982), Wölfflin (1915), and Wollheim (2015). Pointers to recent developments may be found in Gershoni andHochstein (2011), McManus (2005), Nanay (2015), Palmer et al. (2013), and Wilson and Chatterjee (2005). ...
... 1 University of Jyvaskyla, Finland 2 Durham University, UK research, music psychology, and in art research and aesthetics (e.g., Gombrich, 1966Gombrich, /1982Fontaine, Scherer, & Soriano, 2013;Garrido & Schubert, 2011;J. Goldstein, 1999; T. R. Goldstein, 2009;Hanich et al., 2014;Kawakami et al., 2013;Silvia & Brown, 2007), and the occurrence of negative emotions are recognized to have a central role in art reception. ...
Art brings rich, pleasurable experiences to our daily lives. However, many theories of art and aesthetics focus on specific strong experiences—in the contexts of museums, galleries, and concert halls and the aesthetic perception of canonized arts—disregarding the impact of daily experiences. Furthermore, pleasure is often treated as a simplistic concept of merely positive affective character, yet recent psychological research has revealed the experience of pleasure is far more complicated. This study explored the nature of pleasure evoked by everyday aesthetic objects. A mixture of statistical and qualitative methods was applied in the analysis of the data collected through a semi-structured online survey ( N = 464). The result asserts the experience of emotional ambivalence occurred and was composed of a variety of nuanced emotions and related association, rather than just a combination of contradicting emotions. Such paradoxical pleasure is defined as a self-conscious hedonic exposure to negative emotions in art reception. The study also depicted four types of attitudinal ambivalence: loss, diversity, socio-ideology, and distance, reflecting contextual elements intertwined into experience, and the connection between ambivalence and intense emotional experience.
... Gombrich [9] notes that producing an image requires selecting the elements that the author considers relevant. For this reason, even though there is an intention to convey visual information in a reliable and objective manner, the iconographic text is always a reenactment of the referent. ...
... Simplification means not only deleting the details of the objects, but also emphasising key points on specific details. Previous studies revealed simplification as the ability to express the characteristic of the object clearly, in addition to increasing the identity and memory (Gombrich, 1982;Arnheim, 1969;Zusne, 1970). Moreover, a good figure means to apply the least configuration to convey the identical information since the visual cognition of human beings is inclined to receive information by the most economical way (Koffka, 1935;Arnheim, 1969;1974;Goldstein, 2010). ...
As a graphic mark, logo applied by companies to aid public recognition and identification that it is traditionally applied on print advertisements and in recent years in digital devices. The logo recognition ability becoMES a challenge to make it readable in a small display. Therefore, there is a need for brands to ensure their logo is recognisable in different media. According some previous research, simplifying shape might be one of the solutions to increase the recognition ability that will be the core concept in this study. Therefore, this study seeks to investigate a systematic method to evaluate the level of simplicity. The result of experiment aims to provide a reliable and systematic measurement for logo recognition development in different media display and able to enhance the recognition ability before works be printed.
... 'The face is a politics,' write Deleuze and Guattari (p201): inscribed according to codes, it is that on/in which marks of signification and subjectification take place, and is information machine (to adapt Ernst Gombrich's description of the face as 'instrument board' or 'dial'). 25 Matter of apparition, because it is made to appear, the face is the result of processes of capture, and proceeds to overcode the rest of the body, whose coordinates are arranged so as to trace backthe tracing, as opposed to the map, organizes and neutralizesto the production of the face, or abstract faciality machine: ...
In this article, I explore the smile as regulatory mechanism installed in the face to organise a subject's responses to neo-imperial/biopolitical capitalist governmentality. I begin by situating my reading with respect to Sara Ahmed's and Lauren Berlant's work on affective labour before turning to German philosopher Helmuth Plessner (1892-1985) in order to consider the smile as theory of sovereignty. I propose that these two meanings or deployments of the smile – as (1) act that demonstrates forced enslavement to capitalist culture and (2) as articulation of the sovereign self/state – converge in their joint purpose, which is the elimination of sociality and solidarity. My article thereby contributes to recent scholarship on the face, in particular its function in affective/service labour, which it supplements by drawing on Plessner's work: at stake is not only the worker's subjection to capital but also to a regime obsessed with securing borders.
... The study of visual perception is a field of specialisation in its own right. Gombrich (1982) has applied sche-mata to works of art and his interpretations of those paintings can also be useful for certain features of the linguistic landscape. ...
... unequal amplifying [anchorage] reducing [illustration] text 'ampli es' image image 'reduces' text equal [relay] 43 Ahmed Abdel-Raheem • Metaphoric moral framing and image-text relations in the op-ed genre idj 24(1), 2018, According to Forceville (1996), one of the big problems with analyzing pictures "is precisely that there is no such thing as a rigorous 'grammar' of a picture"say, a pictorial code (p. 73; but see, e.g., Gombrich 1982). However, "modern, visually-oriented society has considerably increased our ability to 'read' pictures" (Forceville 1996: 73;cf. ...
This article examines the role of visual metaphor for moral-political cognition. It makes use of a large corpus of 250 multimodal op-eds about the Euro crisis and lays the foundation for establishing a general system of imagetext relations in the op-ed genre. Specifically, the paper addresses the following questions: Is there a difference between a cartoon and an illustration? Why do not op-ed illustrations have captions? What role does layout play in conveying meaning? How do 'op-ed' and 'illustration' relate to each other in terms of the metaphors and moral values employed in both of them? What is the nature of the relationship between the two? How does the illustrating process work? Should the text and image be considered as a single unit or as two separate (though related) units? Moreover, the results of this research will show that visual metaphors can exert a strong effect on individuals' moral-political cognition.
... This visual space is imaginary, but it is nonetheless based on natural perception, i.e. the way the beholder sees the world. Art historian E. H. Gombrich (1982) warns of the fallacy of considering that linear perspective is realist; the pro-realist Bazin even considered it "the original sin of Western painting" (1967,12), thus recognizing its intrinsic artificiality. Andersson uses perspectival depth in order to further reinforce artificiality, instead of endowing his tableaux with straightforward realism. ...
The article examines three films by Roy Andersson, Songs from the Second Floor ( Sånger från andra våningen , 2000), You, the Living ( Du levande , 2007), and A Pigeon Sat on a Branch Reflecting on Existence ( En duva satt på en gren och funderade på tillvaron , 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image.
... 1 Introduction technology and understanding, media and scientific practices, little has been said about how exactly our framing and understanding of a particular scientific problem emerged, developed, was channelled, or broadened due to new perceptions, new strategies of experimenting with, and new visual renderings of organisms that were in motion instead of stilled. 1 Art history has long pondered questions around the perception of movements or events, their representation in pictures (especially still images), cultural contexts, and the beholder's frameworks of knowledge, all of which prepare us to ''see'' movements or events in a picture (see, especially for Gestalt theory, Arnheim 1965, ch. 8;Gombrich 1960Gombrich , 1964Gombrich , 1982also Panofsky and Saxl 1923;Warburg 1932). The art historian Ernst Gombrich explained that in order to read a still image as conveying motion, ''the movement must result in configurations that can be easily understood''; there also have to be ''clear contextual clues'' (Gombrich 1982, pp. ...
Morphogenesis is one of the fundamental processes of developing life. Gastrulation, especially, marks a period of major translocations and bustling rearrangements of cells that give rise to the three germ layers. It was also one of the earliest fields in biology where cell movement and behaviour in living specimens were investigated. This article examines scientific attempts to understand gastrulation from the point of view of cells in motion. It argues that the study of morphogenesis in the twentieth century faced a major dilemma, both epistemological and pictorial: representing form and understanding movement are mutually exclusive, as are understanding form and representing movement. The article follows various ways of modelling, imaging, and simulating gastrular processes, from the early twentieth century to present-day systems biology. The first section examines the tactile modelling of shape changes, the second cell cinematography, mainly the pioneering work of the German embryologists Friedrich Kopsch and Ernst Ludwig Gräper in the 1920s but also a series of classic, yet not widely known, studies of the 1960s. The third section deals with the changes that computer simulation and live-cell imaging introduced to the modelling of shape change and the study of cell movement at the turn of the twenty-first century. Although live-cell imaging promises to experiment upon and represent the living body simultaneously, I argue that the new visuals are an obstacle rather than a solution to the puzzle of understanding cell motion.
... The study of visual perception is a field of specialization in its own right. Gombrich (1982) has applied schemata to works of art and his interpretations of those paintings can also be useful for certain features of the linguistic landscape. ...
... The study of visual perception is a field of specialisation in its own right. Gombrich (1982) has applied sche-mata to works of art and his interpretations of those paintings can also be useful for certain features of the linguistic landscape. ...
Language is all around us as it is displayed in texts on shop windows, commercial signs, posters, official notices, etc. Given a multitude of languages there, it does not come as a surprise that an increasing number of researchers have taken a closer look at languages on signs in the public space. The book reports on studies of the linguistic landscape in cities in countries around the globe: Israel, Japan, Thailand, the Netherlands (Friesland) and Spain (the Basque Country). Their cultural, socio-economic and political circumstances are very divergent. Multimillion cities are included such as Bangkok and Tokyo, but also smaller cities such as Ljouwert-Leeuwarden and Donostia-San Sebastian. Multilingualism turns out to be an important dimension of the linguistic landscape everywhere, as well as the reflection of the process of globalisation, visible through the use of English. The study of the linguistic landscape is applied here as a means to increase our understanding of multilingualism and future directions are outlined.
Trade before Civilization explores the role that long-distance exchange played in the establishment and/or maintenance of social complexity, and its role in the transformation of societies from egalitarian to non-egalitarian. Bringing together research by an international and methodologically diverse team of scholars, it analyses the relationship between long-distance trade and the rise of inequality. The volume illustrates how elites used exotic prestige goods to enhance and maintain their elevated social positions in society. Global in scope, it offers case studies of early societies and sites in Europe, Asia, Oceania, North America, and Mesoamerica. Deploying a range of inter-disciplinary and cutting-edge theoretical approaches from a cross-cultural framework, the volume offers new insights and enhances our understanding of socio-political evolution. It will appeal to archaeologists, cultural anthropologists, conflict theorists, and ethnohistorians, as well as economists seeking to understand the nexus between imported luxury items and cultural evolution.
Trade before Civilization explores the role that long-distance exchange played in the establishment and/or maintenance of social complexity, and its role in the transformation of societies from egalitarian to non-egalitarian. Bringing together research by an international and methodologically diverse team of scholars, it analyses the relationship between long-distance trade and the rise of inequality. The volume illustrates how elites used exotic prestige goods to enhance and maintain their elevated social positions in society. Global in scope, it offers case studies of early societies and sites in Europe, Asia, Oceania, North America, and Mesoamerica. Deploying a range of inter-disciplinary and cutting-edge theoretical approaches from a cross-cultural framework, the volume offers new insights and enhances our understanding of socio-political evolution. It will appeal to archaeologists, cultural anthropologists, conflict theorists, and ethnohistorians, as well as economists seeking to understand the nexus between imported luxury items and cultural evolution.
Memoria, creatividad e imagen emergen como tres factores culturales clave en la historia y el devenir de las civilizaciones. La memoria, extraordinario almacén de experiencias y conocimientos, es instrumento imprescindible en los procesos de creación y resolución de problemas. A menudo, vinculada en exclusividad al pasado, la memoria actúa en el presente y, su potencial valor de proyección, la hace imprescindible en el futuro. En la memoria, la imagen ocupa un lugar destacado, tanto en su dimensión sensorial como en su dimensión mental. El sujeto construye y perfecciona conceptos (imágenes mentales) que le empujan a comportarse de un determinado modo, e imagina, creando imágenes fantásticas, a menudo, a partir de sus recuerdos. El objetivo principal de este artículo es estudiar las conexiones entre memoria, creatividad e imagen para alcanzar un conocimiento más profundo que permita reflexionar sobre tales interacciones y sus oportunidades. Para ello, se plantea una metodología epistemológica coherente y unitaria con enfoque fenomenológico que explica la complejidad de las interrelaciones y la esencia de los tres factores, estudiados en cuanto a fenómenos vitales. Finalmente, se propone una red semántica de todas las interacciones encontradas, abriendo las puertas a investigaciones posteriores.
Здійснено культурологічний аналіз циркової справи в сучасній Україні в контексті державної культурної політики, визначено та обґрунтовано сутнісний зміст державного регулювання циркової справи в контексті та в межах її законодавчого і нормативноправового поля. Обґрунтовано актуальність основних положень цього дослідження у формуванні новітнього наукового дискурсу в царині циркового мистецтва. Актуалізовано базовий концепт циркової справи, який полягає в необхідності формування законодавчого та нормативноправового поля для розвитку національного циркового мистецтва. Здійснено культурологічний аналіз програми розвитку циркової справи. Підкреслено, що законодавча та нормативна, з одного боку, — правова база сфери культури має універсальні, з іншого, специфічні, притаманні лише певному виду мистецтва положення. Акцентовано на необхідності запровадження сучасної, цивілізованої патерналістської державної політики щодо розвитку циркового мистецтва зокрема. Підкреслено, що сучасний цивілізований патерналізм надасть можливості зберегти стабільну наявність національного циркового продукту на національному та світовому ринку культурномистецьких послуг, а через це — забезпечити стабільний розвиток вітчизняної циркової справи. Актуалізовано, що саме завдяки сучасному патерналізму й посиленій бюджетній підтримці всіх складових циркової справи, якто: системи підготовки творчих та управлінських кадрів, системи аматорського циркового мистецтва, системи стаціонарних цирків, буде забезпечений сталий розвиток національної циркової справи у всій її цілості.
Avaliamos as questões da discursividade visual do fotojornalismo moderno, a partir da expressividade somática dos personagens de acontecimentos: as relações entre gestos e posturas dos actantes das imagens e a intensificação passional da expressividade corporal, com o valor dramático/discursivo que assumem, na cobertura dos acontecimentos. Ao final, avaliamos o processo histórico de uma depuração da intensidade passional dos gestos, como interrogação do campo profissional do fotojornalismo acerca dos impasses decorrentes da reiteração destas chaves «superlativas» da expressividade na imagem.
For decades we have been searching for an answer to the knotty question, “do aliens exist?.” Other questions in line are: “where are they?,” “are they like us, sophisticated intelligent beings?” or “do they exist in the form of simpler lifeforms?,” “Have they ever visited us?,” “Why haven't we encountered them yet?,” “or have we?” To satiate this curiosity, astrophysicists and astronomers have come up with innumerable theories and ideas, engaged in building facilities and institutes and come up with a planet-wide effort for the search of extraterrestrial intelligence — SETI @ home. This article will take a ride through time, from the first documented idea to look for extraterrestrial beings to the current exploration of this field.
Although typical viewing perspective is widely accepted as an important and consistent attribute of Upper Palaeolithic Art this feature is in danger of being taken for granted due to its very pervasiveness. Despite several useful principles having been established concerning some more formal aspects of the tradition, this has not involved an analysis of the possible underlying "meaning" involved. As a "convention" which persisted for 20,000 years this suggests there are deeper questions to be asked regarding signification. This essay seeks to answer some of these questions in relation to recent neurocognitive insights and ethological considerations.
This dissertation investigates the question of transcendence and its relevance to my picture-making process. The term 'transcendence' refers to any experience which surpasses the finite. In relation to the art-making process it refers to an opening up of the frame. Transcendence is not regarded as a fixed and unalterable state but as such that it encompasses paradox. The fragmentary nature of experience and knowledge provides the point of departure for this investigation.
The possibility of transcendence is partly explored through the concept of symbolic orders. I am using the term 'symbolic orders' to refer to any frameworks which shape human experience in general and the creative process specifically.
Upon exploring the concept of transcendence as concerns the work of a number of artists and insofar as it has informed my own pictures it appears that there is a creative system pertaining to the artwork which is transcendent.
In this chapter, we introduce Kaplan’s framework for the interpretation of indexicals. In particular, we extend our current model of interpretation to encompass the notion of context of utterance—as a set of coordinates identifying speaker, place and time of utterance, and addressee(s). On the basis of this framework we also distinguish two related yet different dimensions of linguistic meaning: content—the reference of a linguistic expression—and character—the function that connects the content of a linguistic expression to its context of use.
The aim of the present study is to evaluate Sonja Foss’s Rhetorical Schema for the Evaluation of Visual Imagery (1994) as well as reflect upon several points for further consideration; and finally suggest a renewed triadic approach as a method for analyzing art-relevant visual imagery. The triadic approach to be discussed assumes three correlative layers: the intellectual knowledge , function of the artistic content as the visual representational component, and aesthetics as modality . This study will include the analysis of a print advertisement that used an artwork as its content of visual rhetoric, and this will inform further discussions on the proposed approach. The contribution of this renewed triadic approached to the field of visual rhetoric has the advantage of expanding and possibly improving rhetorical analysis methods of visual imagery.
This book chapter maps the potential of the concept of asymmetry as an analytical tool for the study of transcultural interaction. It first presents a theoretical outline, which serves the function of a chain of hypotheses, and then tests these hypotheses with a case study about the development of the Chinese press.
The article will focus on H. Beam Piper’s classical story Omnilingual (1957). This Piper-esque writing has entered the records of the science fiction prose for the ‘Martian’ periodic table of elements, being synonymous with a scientific ‘Rosetta-like stone’ in the decipherment area. The work, while having a search potential in text analysis and stylistics, may add in a parallel fashion some lustre to the validity of science as a communicative channel in non-conventional circumstances. In order to capture stylistic features of the novelette, a number of quantitative indicators are drawn in. The study will concentrate on vocabulary-richness indexes (TTR, entropy, RR, RRMc, G, ATL, HL, MATTR, and Lambda), a complex assessment of activity (Busemann’s coefficient, the chi-square testing classification), and a sketch of the Belza chain analysis. The goal of the article is to find distinctive features of the piece in question, and point out ways for further research.
This paper reports the usage of Japanese karaoke films in order to enhance learning Japanese vocabulary among students in a university in Taiwan. A pretest-posttest control-group design was implemented in which the treatment students (55 girls and 48 boys) were given Japanese vocabulary lessons via listening to and watching two karaoke films, while the control group (62 girls and 47 boys) received their Japanese vocabulary lessons through only listening to the same songs (N=212, P ≤ 0.05). The treatment lasted for six consecutive regular general Japanese classes in which the last 20 minutes of the session was allocated to this experiment. The statistical independent samples T-tests used for each of the three comparisons in this study revealed a significant higher gain scores for the girls treatment group, while the boys treatment and control, as well as the general (all) students treatment and control groups did not show any significant difference. Given the ever-growing usage of karaoke in many countries such as Taiwan, the authors believe that addressing the possible and potential capabilities of such a favorable activity, particularly among the youth, can prove effective and helpful in teaching/learning Japanese and other languages.
The distinguished Italian director Federico Fellini mentions his favourite childhood magazine Il Corriere dei
Piccoli on various occasions, yet scholars and critics have not looked further into this connection in order to
understand Fellini’s films. Labelled an ‘auteur’ and an ‘artistically distinctive filmmaker’, Fellini is placed in the
“high” art tradition, with artistic influences to match. In this essay, I focus instead on the influences from the
director’s childhood, which played a particularly influential part in his artistic development. I analyse Fellini’s
films with reference to one of his most lasting childhood influences: the comic strips of Il Corriere dei Piccoli.
In pointing out various visual, technical and narrative similarities between Fellini’s films and several comic
strips found in this important Italian weekly magazine for young readers, I argue that this popular artistic output
was inspirational for Fellini and deserves greater attention than it has received in the existing scholarship.
p>El texto hace un brevísimo recordatorio de algunas apreciaciones que se han hecho desde la filosofía sobre la manera en que representan las imágenes, aquellas que están en lugar de su objeto por su forma, es decir, el icono de Peirce, en debates que ahora parecen lejanos. Se muestra en esta historia la superación de las ideas inmediatas de parecido como explicación, la esterilidad de aplicar simplemente la idea de proyección y la atención a la ilusión referencial, para acabar con las interesantes observaciones de Wittgenstein cuando explora la analogía en sentido contrario, para explicar el lenguaje como una forma de figuración en sentido estricto.</p
19.00.01-общая психология, психология личности, история психологии Автореферат диссертации на соискание ученой степени кандидата психологических наук.
This article focuses on disciplinary interrelationships between philosophy and history within the framework of educational sciences. It deals with the epistemological, material, political, and categorical conditions of permeability, some of which initiate a separation of historical science from philosophy, whereas others allow, on the one hand, for history to profit from philosophy and, on the other, for philosophy to profit from history. The article illustrates how both history and philosophy benefit through reciprocal openness within education as an academic field. Permeability between history and philosophy in educational research may draw attention to lacunae on both sides and challenge methodological stereotypes and seemingly unavoidable dispositions of reasoning, the recognition of which may contribute to an enrichment of educational research.
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