332,043 research outputs found

    The structure of the Arts & Humanities Citation Index: A mapping on the basis of aggregated citations among 1,157 journals

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    Using the Arts & Humanities Citation Index (A&HCI) 2008, we apply mapping techniques previously developed for mapping journal structures in the Science and Social Science Citation Indices. Citation relations among the 110,718 records were aggregated at the level of 1,157 journals specific to the A&HCI, and the journal structures are questioned on whether a cognitive structure can be reconstructed and visualized. Both cosine-normalization (bottom up) and factor analysis (top down) suggest a division into approximately twelve subsets. The relations among these subsets are explored using various visualization techniques. However, we were not able to retrieve this structure using the ISI Subject Categories, including the 25 categories which are specific to the A&HCI. We discuss options for validation such as against the categories of the Humanities Indicators of the American Academy of Arts and Sciences, the panel structure of the European Reference Index for the Humanities (ERIH), and compare our results with the curriculum organization of the Humanities Section of the College of Letters and Sciences of UCLA as an example of institutional organization

    What we know about learning: How we must change the school experience

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    Dr. Roger Schank was the Founder of the renowned Institute for the Learning Sciences at Northwestern University, where he is John P. Evans Professor Emeritus in Computer Science, Education and Psychology. He was Professor of computer science and psychology at Yale University and Director of the Yale Artificial Intelligence Project. He was a visiting professor at the University of Paris VII, an Assistant Professor of Computer Science and Linguistics at Stanford University and research fellow at the Institute for Semantics and Cognition in Switzerland. He also served as the Distinguished Career Professor in the School of Computer Science at Carnegie Mellon University. He is a fellow of the AAAI and was founder of the Cognitive Science Society and co-founder of the Journal of Cognitive Science. He holds a Ph.D. in linguistics from University of Texas. In 1994, he founded Cognitive Arts Corporation, a company that designs and builds high quality multimedia simulations for use in corporate training and for online university-level courses. The latter were built in partnership with Columbia University. In 2002 he founded Socratic Arts, a company that is devoted to making high quality e-learning affordable for both businesses and schools

    Cognitive development & art education: relationship, suitability, and future implications

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    In this thesis the author sought to discover linkages between Art, Philosophy, Aesthetics, and Cognitive Science through a review of scholarship surrounding the integration of cognitive theories, art, and education. There have been numerous studies that claim that art education in elementary and secondary schools improves students\u27 academic performance, interpersonal skills and improves attitudes to life. Nations meanwhile constantly modify standards and frameworks for teaching and learning in the visual arts. However, despite these changes, the author wondered to what extent, if at all, new standards-based visual arts curriculum frameworks were responsive to concepts within cognitive theory. This qualitative study analyzes the National Visual Arts Standards through a cognitive lens in order to detect the level of their connection to developmental theory. The author\u27s interviews with practicing K-12 art teachers reveal the extent to which their curriculum design and teaching and importantly their students benefit from close alignment to cognitive science. The thesis concludes with thoughts for educators and policymakers that emerged as a result of this investigation and which may be transferable to diverse educational locations and in particular the author\u27s home - China. This thesis does not claim to be exhaustive in the depth of its investigation, but the author hopes it provides valuable insights into the benefits of greater integration of cognitive science into art education. Further, it is the author\u27s hope that the thesis provides a platform for her own further study at the doctoral level

    The Common Link: An Exploration of the Social Cognitive Dimensions of Meaning-Making in Algebra and the Visual Arts Using a Case Study Approach

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    It is commonplace to hold that algebra and the visual arts are mutually exclusive activities. In this thesis, an attempt was made to connect how we learn in algebra and the visual arts from the social cognitive perspective proposed by Bandura (1986, 1997). That is, the personal, social, and behavioural dimensions of learning in algebra and the visual arts were considered. Also, the issue of a connection between algebra and the visual arts was tackled by taking into account the most recent advances in cognitive science, like the situated movement, the notion, in a nutshell, that cognition is extended throughout our social relations and practices. Making the connection between, what Snow (1959) called generally the two cultures (cited in Stent, 2001, p. 31) of art and science, has precedence. There have been attempts, as interpreted in this thesis, to consider what learning in the arts and sciences have in common from various quarters, be they philosophical, psychological, or historical. Identifying the link between algebra and the visual arts involved several things. First, the historical context for the schism between our understanding of learning in algebra and the visual arts was considered. Second, a detailed review-cum-analysis of the literature was undertaken, and this yielded the themes upon which the connections between algebra and the visual arts were made. Turning to the fieldwork, four probing case studies were utilized to explore how those in algebra or the visual arts learn in their fields. By analyzing the data from the case studies, pattern regularities between learning in algebra and the visual arts were extracted. Finally, the theoretical and pedagogical consequences of having made the common link between algebra and the visual arts were addressed. Theoretically, by considering the role of, for instance, aesthetics and identity as reasons to pursue algebra or the visual arts, Bandura\u27s (1986, 1997) social cognitive theory was corroborated and enlarged. Practically, recommendations were offered for the pedagogy of algebra and the visual arts

    The impact of community-based arts and health interventions on cognition in people with dementia: a systematic literature review

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    Objectives: Dementia is a progressive condition, affecting increasing numbers of people, characterised by cognitive decline. The current systematic review aimed to evaluate research pertaining to the impact of arts and health interventions on cognition in people with dementia. Method: A literature search was conducted utilising PsychInfo, Cochrane Reviews, Web of Science, Medline and British Humanities Index databases. Seventeen studies were included in the review, including those related to literary, performing and visual arts. Results: The review highlighted this as an emerging area of research with the literature consisting largely of small-scale studies with methodological limitations including lack of control groups and often poorly defined samples. All the studies suggested, however, that arts-based activities had a positive impact on cognitive processes, in particular on attention, stimulation of memories, enhanced communication and engagement with creative activities. Conclusion: The existent literature suggests that arts activities are helpful interventions within dementia care. A consensus has yet to emerge, however, about the direction for future research including the challenge of measurement and the importance of methodological flexibility. It is suggested that further research address some of these limitations by examining whether the impact of interventions vary depending n cognitive ability and to continue to assess how arts interventions can be of use across the stages of dementia

    Understanding creativity

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    We have never seen creativity. More precisely, we have never seen the creative process; what we have seen is the creative individual (ex ante) and the outcome of creativity (ex post). Therefore we try to understand creativity by examining creative individuals and their creations. In this paper we only consider the creation of new knowledge. We draw on a wide variety of backgrounds. We wander into the area of cognitive psychology to investigate who is talented for creativity. We also draw on arts, history and philosophy of science, stories of mystics, some great novels and essays we have read as well as our experience in both working with creatives and creating new knowledge. Based on this shaky foundation we will describe creativity as illumination, through jokes, as a quest for harmony, as being kissed by the muse

    Utilization Of Language Learning Strategies By Iranian Post-Graduate Students And Their Attitude And Motivation Toward Learning English

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    This study investigated utilization of language learning strategies by Iranian postgraduate students and the influence of motivation and attitude on the students’ use of language learning strategies. Kerman province was selected according to cluster sampling. Then, 156 second semester post-graduate students in Kerman province were included in the present study. Data were collected through language learning strategy questionnaire developed by Oxford (1997) and Attitude/Motivation Test Battery (AMTB) adapted from Zarafshan (2002). Descriptive statistics showed that Iranian post-graduate students were high strategy users. The respondents reported the use of metacognitive, affective, compensation, social, cognitive, and memory respectively based on the frequency of use while cognitive and memory strategies were reported at a medium level and other strategies were reported at a high level. Descriptive statistics also indicated that Iranian post-graduate students had positive attitude toward learning English. Although students with positive attitude utilized the strategies more than students with negative attitude, independent sample T-test showed that attitude did not have a significant influence on utilization of language learning strategies. To determine motivation level of students, mean score for each motivation level was calculated. It showed that Iranian postgraduate students were instrumentally motivated rather than integratively motivated. It was indicated that integratively motivated students utilized strategies more than instrumentally motivated ones except for memory strategy. However, t-test indicated that instrumental motivation increased the use of memory strategies while integrative motivation increased the use of cognitive strategy. Other differences were not found to be significant. To determine the use of strategies by students of art and science, mean scores of both groups of students in strategy utilization were calculated. It showed that Arts students utilized strategies more than Science students. Overall, t-test showed that the Arts and Science majors had a statistical significant influence [t= 0.546] on the choice of cognitive strategy

    Perceiving Live Improvisation in the Performing Arts

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    This chapter will explore the ways that live improvisational performances by professional-level actors, musicians, and dancers, take place at both cognitive and sub-cognitive levels in ways that are relevant for understanding perception and appreciation of the performing arts. First, evidence from cognitive science will be used to show that improvising, as in a dance or a music jam session or a scene in theatre, may involve physical responses that occur before we are conscious of the event to which we are responding. Second, this chapter will demonstrate how understanding these cognitive processes can help us to pinpoint why live improvisational performances have aesthetic value. Next, this chapter will consider the extent to which critical appreciation involves the enrichment and supplementation of perceptual experience with interpretive practice. Like the improvising performing artist, the audience member, too, has cognitive processes that occur before conscious articulation of what they have perceived. This means that evaluative judgments of live improvisation in the arts, like the improvisatory decisions that are made by the performers in the performances that they are judging, are not made at the purely perceptual level.https://ecommons.udayton.edu/books/1022/thumbnail.jp
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