Poetry's total scandal:Poets and postmen in Antonio Skármeta’s El cartero de Neruda

The argument put forward here takes Antonio Skármeta's short novel El cartero de Neruda (Con ardiente paciencia) as a theorization of the relationship between poetry and politics, by way of the concept-metaphors (Mieke Bal) that are deployed in the novel. Skármeta stages the public role of poetry through the telling of a story about the poet Pablo Neruda and his postman Mario Jiménez. The relationship between poetry and politics is analysed with reference to Hazard Adams' concept of «the offense of poetry» and Roland Barthes' reflections on the total scandal of language in his essay «Écrivains et écrivants» (1964), here adapted as «the total scandal of poetry». In contradistinction to Barthes, who argues that the total scandal of language is impossible because of the absorption of scandalous language by the literary institution, Skármeta's short novel suggests that the total scandal of poetry is indeed possible when, as in the case of Pablo Neruda, Mario Jiménez and Salvador Allende, poetry becomes a constitutive part of a political project, within which it functions as a reminder of dignity and as the touchstone for political integrity

Moving-Time and Moving-Ego Metaphors from a Translational and Contrastivelinguistic Perspective

This article is concerned with some cross-linguistic asymmetries in the use of two types of time metaphors, the Moving-Time and the Moving-Ego metaphor. The latter metaphor appears to be far less well-entrenched in languages such as Croatian or Hungarian, i.e. some of its lexicalizations are less natural than their alternatives based on the Moving- Time metaphor, while some others are, unlike their English models, downright unacceptable. It is argued that some of the differences can be related to the status of the fictive motion construction and some restrictions on the choice of verbs in that construction

Experimentation and Representation in Architecture: analyzing one’s own design activity

Architects materialize ideas on physical supports to register their thoughts and to discover new possibilities from hints and suggestions in their own drawings. Uncertainty is inherent to creative processes encouraging the production of different ideas through testing. This research brings to light that the re-examination of artefacts from new points of view allows for the review and generation of design ideas and decisions, capacitating students to make yet new discoveries from what they have done so far. Tacit knowledge aids specific decisions. Student reports become analytical records of their material registers (sketches, physical and virtual models) making it explicit that which is implicit in those artefacts. This apparently confirms previous studies that suggest that knowledge per se not always triggers or controls decisions in design. Many physical as well as perceptive actions actually lead the initial steps and play a crucial role in the whole course of production. Besides serving as external representations, sketches and models provide visual hints that will be checked later, favouring the upcoming of the unexpected, stimulating creativity. The intent here is to point out how these different means of representation and expression contribute in a peculiar manner to the whole process of discovery and solution to problems in architecture. The authors propose here a reflection on the process of design and its uncertainties in its initial phase, concentrating on sketches and real models as experimentations. They consider these means not from a graphic and physical register stand point, but in terms of conception and concepts they embody, as records of students thinking and knowledge. Keywords: Experimentation; Uncertainty; Representation; Design Process; Cognition; Education</p

Autoscopic Space: Re-thinking the Limits Between Self and Self-Image

open access journalAn experimental installation project of my own making, the diplorasis, aims to re-think the human sensorium by considering the bodily perceptual boundaries that are induced by visual media processes. Within the installation space the participant will, unexpectedly, encounter stereoscopic projections of himself/herself from previous instances and multiple perspectives. The photographic cameras within the device that are attached to sensors have been programmed to capture different views of the moving participant, and then to digitally split (and in some cases manipulate) the images before sending them to screens that project the image for the participant’s view. These stereoscopic images induce an illusionistic three-dimensional projection of the subject. The reduplicated, projected, and three-dimensionally simulated self in the diplorasis begins to trigger a questioning of how the body is understood within visual media. During the visual experience one has a solipsistic perception of oneself. The participant views himself both from outside and inside his body. The out-of-body experience of observing oneself from the multiple points of view of another (as a simulated object) is somehow countered to the embodied operation of the physical binocular eyes. The uncanny closeness of a neutral image “out there” (e.g. of a house) evoked by the original stereoscopes is now subverted, as the digitization of the stereoscope allows for unexpected self projections of the viewer. The diplorasis brings to the fore a particular reading of a sensory body that veers between, on the one hand, a projected image generated by electronic information, and on the other, the embodied response to this projected spectral other. As electronic processes are changing the perceptual and cognitive limits of the body, how do these shift our understanding of inside/outside

Incremental Art: A Neural Network System for Recognition by Incremental Feature Extraction

Abstract Incremental ART extends adaptive resonance theory (ART) by incorporating mechanisms for efficient recognition through incremental feature extraction. The system achieves efficient confident prediction through the controlled acquisition of only those features necessary to discriminate an input pattern. These capabilities are achieved through three modifications to the fuzzy ART system: (1) A partial feature vector complement coding rule extends fuzzy ART logic to allow recognition based on partial feature vectors. (2) The addition of a F2 decision criterion to measure ART predictive confidence. (3) An incremental feature extraction layer computes the next feature to extract based on a measure of predictive value. Our system is demonstrated on a face recognition problem but has general applicability as a machine vision solution and as model for studying scanning patterns.Office of Naval Research (N00014-92-J-4015, N00014-92-J-1309, N00014-91-4100); Air Force Office of Scientific Research (90-0083); National Science Foundation (IRI 90-00530

To Fall Or Not To Fall: A Visual Approach to Physical Stability Prediction

Understanding physical phenomena is a key competence that enables humans and animals to act and interact under uncertain perception in previously unseen environments containing novel object and their configurations. Developmental psychology has shown that such skills are acquired by infants from observations at a very early stage. In this paper, we contrast a more traditional approach of taking a model-based route with explicit 3D representations and physical simulation by an end-to-end approach that directly predicts stability and related quantities from appearance. We ask the question if and to what extent and quality such a skill can directly be acquired in a data-driven way bypassing the need for an explicit simulation. We present a learning-based approach based on simulated data that predicts stability of towers comprised of wooden blocks under different conditions and quantities related to the potential fall of the towers. The evaluation is carried out on synthetic data and compared to human judgments on the same stimuli

The Second-Person Perspective in the Preface of Nicholas of Cusa’s De Visione Dei

In De visione Dei’s preface, a multidimensional, embodied experience of the second-person perspective becomes the medium by which Nicholas of Cusa’s audience, the benedictine brothers of Tegernsee, receive answers to questions regarding whether and in what sense mystical theology’s divine term is an object of contemplation, and whether union with God is a matter of knowledge or love. The experience of joint attention that is described in this text is enigmatic, dynamic, integrative, and transformative. As such, it instantiates the coincidentia oppositorum and docta ignorantia which, for Cusa, alone can give rise to a vision of the infinite