9,484 research outputs found

    Evolution of Symbolisation in Chimpanzees and Neural Nets

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    from Introduction: Animal communication systems and human languages can be characterised by the type of cognitive abilities that are required. If we consider the main semiotic distinction between communication using icons, signals, or symbols (Peirce, 1955; Harnad, 1990; Deacon, 1997) we can identify different cognitive loads for each type of reference. The use and understanding of icons require instinctive behaviour (e.g. emotions) or simple perceptual processes (e.g. visual similarities between an icon and its meaning). Communication systems that use signals are characterised by referential associations between objects and visual or auditory signals. They require the cognitive ability to learn stimulus associations, such as in conditional learning. Symbols have double associations. Initially, symbolic systems require the establishment of associations between signals and objects. Secondly, other types of relationships are learned between the signals themselves. The use of rule for the logical combination of symbols is an example of symbolic relationship. Symbolisation is the ability to acquire and handle symbols and symbolic relationships

    Researching in-between experience and reality

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    In this article, we draw on LORENZER's method in our analysis of a single case data extract derived from a research project generating data through the Tavistock Infant Observation tradition. The partial case analysis demonstrates our methodological approach and explores conceptual territory at the meeting point of German and British psychoanalytically-informed traditions. Our scenic composition synthesised key elements of one observation visit to the home of a young black first-time mother in London. LORENZER's advice to the cultural analyst to explore what irritates or provokes in the scene has something in common with the way that observers in the infant observation tradition use their emotional responses and process their experience. The aim is to provide access to what WINNICOTT described as an intermediate area of experience and LORENZER considered "in-between". We explore this area through two provocations in our scenic composition. Using these data examples we ask: is it possible to conceptualise collective, societal-cultural unconscious processes (LORENZER's gesellschaftlich-kollektives Unbewußtes, 1986) within this intermediate area? Specifically, how is racial and class difference present in the scene? How can it be located through scenic understanding of research data? And why does it matter

    Developing a method for elaboration the scenarios related with sustainable products lifecycle

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    This article aims at presenting our objective that is to use DfD rules earlier during the design process. Indeed, during the conceptual design phase, designers don't have simple qualitative tools or methods to evaluate their products. There are guidelines that are very useful in a first approach to give some objectives, but there is no quantitative indicators associated to these rules to consider the disassembly aspects when the first choices are realised for the product. So we will present that to use DfD rules during the conceptual design phase, we first have: ?to identify which kind of rules can be applied when designers only have a functional representation of their product. ?to create the necessary indicators to evaluate these rules depending on designers choices. We think that this approach is usable for many DfX rules either if we only consider in this paper DfD rules.Comment: 10 Pages; 1st International Engineering Sciences Conference 2008, Aleppo : Syrian Arab Republic (2008

    Computational Mechanics of Molecular Systems

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    Psychosocial Research Analysis and Scenic understanding

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    In this paper two researchers who position themselves within an emergent psychosocial current in the UK apply the concept to a segment of film footage of an interaction (part of an empirical qualitative research project) to explore what Alfred Lorenzer’s theory of scenic understanding can add to our existing methodological resources. The film footage shows the creation of a poem by Darren, a 16-year-old offender, and Bob, a local poet employed in a project investigating the rehabilitative potential of one-to-one creative writing sessions. The authors contrast the transcript of this encounter with a ‘scenic composition’, a device they developed to communicate to a research readership the scenic experience of watching a filmed interaction. This contrast forms the basis for bringing together a series of post-Kleinian ideas about modes of knowing (syncretistic perception, reverie, transitional space) with Lorenzer’s scenic understanding. Through the idea of provocations in the text, the authors focus on the researcher’s emotional experience to explore the psychosocial character of the meanings that emerge concerning Darren’s claim, ‘I’m not clever’, and how these meanings are communicated amongst Darren, Bob and the researcher. Through the lens of symbolised and unsymbolised emotional experience, play and triangular space, the authors consider Darren’s ambivalent relationship to the creative writing activity and conclude with a short discussion of the conceptualisation of unconscious processes suitable to a psychosocial data analytic methodology

    Object Relations in the Museum: A Psychosocial Perspective

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    This article theorises museum engagement from a psychosocial perspective. With the aid of selected concepts from object relations theory, it explains how the museum visitor can establish a personal relation to museum objects, making use of them as an ‘aesthetic third’ to symbolise experience. Since such objects are at the same time cultural resources, interacting with them helps the individual to feel part of a shared culture. The article elaborates an example drawn from a research project that aimed to make museum collections available to people with physical and mental health problems. It draws on the work of the British psychoanalysts Donald Winnicott and Wilfred Bion to explain the salience of the concepts of object use, potential space, containment and reverie within a museum context. It also refers to the work of the contemporary psychoanalyst Christopher Bollas on how objects can become evocative for individuals both by virtue of their intrinsic qualities and by the way they are used to express personal idiom

    Visualizing the dynamics of London's bicycle hire scheme

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    Visualizing flows between origins and destinations can be straightforward when dealing with small numbers of journeys or simple geographies. Representing flows as lines embedded in geographic space has commonly been used to map transport flows, especially when geographic patterns are important as they are when characterising cities or managing transportation. However, for larger numbers of flows, this approach requires careful design to avoid problems of occlusion, salience bias and information overload. Driven by the requirements identified by users and managers of the London Bicycle Hire scheme we present three methods of representation of bicycle hire use and travel patterns. Flow maps with curved flow symbols are used to show overviews in flow structures. Gridded views of docking station location that preserve geographic relationships are used to explore docking station status over space and time in a graphically efficient manner. Origin-Destination maps that visualise the OD matrix directly while maintaining geographic context are used to provide visual details on demand. We use these approaches to identify changes in travel behaviour over space and time, to aid station rebalancing and to provide a framework for incorporating travel modelling and simulation

    Vampires, Viruses and Verbalisation: Bram Stoker’s Dracula as a genealogical window into fin-de-siècle science

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    This paper considers Bram Stoker’s novel Dracula, published in 1897, as a window into techno-scientific and sociocultural developments of the fin-de-siècle era, ranging from blood transfusion and virology up to communication technology and brain research, but focusing on the birth of psychoanalysis in 1897, the year of publication. Stoker’s literary classic heralds a new style of scientific thinking, foreshadowing important aspects of post-1900 culture. Dracula reflects a number of scientific events which surfaced in the 1890s but evolved into major research areas that are still relevant today. Rather than seeing science and literature as separate realms, moreover, Stoker’s masterpiece encourages us to address the ways in which techno-scientific and psycho- cultural developments mutually challenge and mirror one another, so that we may use his novel to deepen our understanding of emerging research practices and vice versa (Zwart 2008, 2010). Psychoanalysis plays a double role in this. It is the research field whose genealogical constellation is being studied, but at the same time (Lacanian) psychoanalysis guides my reading strategy. Dracula, the infectious, undead Vampire has become an archetypal cinematic icon and has attracted the attention of numerous scholars (Browning & Picart 2009). The vampire complex built on various folkloristic and literary sources and culminated in two famous nineteenth-century literary publications: the story The Vampyre by John Polidori (published in 1819)2 and Stoker’s version. Most of the more than 200 vampire movies released since Nosferatu (1922) are based on the latter (Skal 1990; Browning & Picart 2009; Melton 2010; Silver & Ursini 2010). Yet, rather than on the archetypal cinematic image of the Vampire, I will focus on the various scientific ideas and instruments employed by Dracula’s antagonists to overcome the threat to civilisation he represents. Although the basic storyline is well-known, I will begin with a plot summary
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