Le petit glossaire « cinématographique » de la science cognitive

Il sera ici question du possible emprunt par les travaux de chercheurs en sciences cognitives de termes cinématographiques tels que « script », « scénario », « scène », « cadre » ou « frame ». En s'intéressant aux images utilisées afin d'exprimer les mécanismes de l'esprit, à l'étymologie des mots ainsi qu'à la dimension narrative de la pensée, il s'agira de préciser les liens que peut cultiver la « science de l'esprit » avec le cinéma, cet « art de l'esprit ».This article proposes to examine the possible borrowing of cinematographic terms like "script," "scenario," "scene," and "frame," in the research work of cognitive scientists. While focusing on certain images used to express the mechanics of the mind, the etymology of key-words, as well as the narrative dimensions of thinking, it attempts to clarify the relationship that the "science of the mind" might cultivate with the cinema, that "art of the mind.

Liquid architectures: Marcos Novak\u27s territory of information

The idea of interactivity between humans and their environment no longer represents the only way of exploring new experiences. Equally passé is the idea that information constitutes the means for this interaction. However, this paper presents that the contemporary idea for interaction has embraced new understandings of the content of experience and the structure of space. New electronic technologies and advanced digital media have separated realities from the realm of the body and transformed experiences into a ubiquitous event. The architectural discourse, that once has been largely a discourse of form and style, has finally overcome those limitations and has encountered, in spatial images, the product of a new way of thinking. Marcos Novak emerges, in this context of cybernetics and multimedia, as an innovative creator, whose “liquid architectures” represent a step forward in breaking up with the traditional discourse of physicality. His creations are meant for a virtual domain and information is what structures this new territory for architectural practice. The words of philosophers and scholars of new media culture are also presented as evidences of an approach to virtual spaces either through aspects of the bodily existence and modes of experience, or through the metaphoric manifestation of codes and symbols, posited by Novak’s structures. This paper confronts those phenomenological and poststructural approaches and states that they also have become outdated. New senses have been attained through the crossbreeding between the reality of the individual and the virtuality of the structure. A strong concept of space then comes forward, where the manifestation of mind in the realm of the body calls for what is to be perceived as real. Architecture is now characterized by the fusion of information, art, and technology

New Media and Interactivity

Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience

New Media and Interactivity

Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience

The Politics of Spirit in Stiegler’s Techno-Pharmacology

This article begins by examining the concept of the pharmakon that is developed in Derrida’s essay ‘Plato’s Pharmacy’, as it is here that the idea of a medium that is simultaneously poisonous and therapeutic is developed in relation to the discursive effects of writing. The author then goes on to look at Stiegler’s attempt to reconfigure the ‘orthographic economy’ of deconstruction, particularly his account of how the ‘tertiary supports’ of virtual and information technologies have transformed the experience of the real in the regime of global capitalisation. Finally, he argues that the appearance of the pharmakon as a matrix idea in his work, sharpens his account of the aporia of technological society: for the impossibility of human culture being reduced to either the disorientated life industrial populism, or to idealist notions of reflexivity, is what, for Stiegler, offers the chance of a new politics of spirit. </jats:p

Diferentes interpretaciones de las dificultades de aprendizaje en matemática

En este artículo se propone, a partir del estudio de ciertos ejemplos, una reflexión sobre la manera en la cual las ciencias cognitivas y la didáctica de las matemáticas abordan cuestiones relacionadas con las dificultades de aprendizaje en matemáticas. Se intenta poner en evidencia las concepciones teóricas en las que se apoya el análisis y, ciertas razones por las cuales estas concepciones son consideradas fundamentales para el mismo

An Investigation of Holographic Technologies Applied to Contemporary Art Practice A new approach to temporal aesthetics

The works of contemporary art using audio, 35mm slide, video, film and computer- based technologies are commonly referred to as time-based media, since they have duration as a dimension. By looking at artworks which are classified in this category, it appears that temporal visual perceptual interpretations are mainly created through the use of the illusion of movement, which is primarily constituted by sequential images. In art holography, the light-based characteristic qualities of this medium compose a kinetic and interactive visual syntax, which are not seen in other imaging technologies, stating its unique creative possibilities. Thus, this study intends to employ holography as an art medium to explore its temporal properties in order to establish a new approach to time-based media art practice. To review the practice and artworks created for this study, the author recognises that the characteristic qualities of a medium is key for the development of its own aesthetic culture. Moreover, the author also identifies that the combination of both the slips form of a hologram and a portable lighting device would be fundamental elements of the suggested new approach. This approach integrates the holographic image replaying process and the Chinese bamboo slips structure to create a scroll form of an artwork presentation, which suggests a viewer to observe with an unrolling activity, section by section. The role of light in this approach is essential as it not only reconstructs the image, but also acts as an intangible guide to indicate the viewing direction, which forms a directional linear temporal expression. This study combines the suggested approach with classical Chinese poetry to create a series of experimental artworks, demonstrating that the literal and figurative meaning of the poem could possibly be elevated through the manipulation of the light source and the scroll from of the image presentation, as the former creates the holographic kinetic expression and the latter reinforces the poetic linearity. This approach could be interpreted as a time-based holographic manifestation, as it unfolds the art to the viewer over time. Furthermore, in terms of the characteristic qualities of holography, the visual expressive techniques and aesthetic features created for this study indicate that such works cannot be recreated without the use of holography. This study reveals that the irreplaceable aesthetic qualities of holography, suggesting that it could expand and diversify the creative potential of time-based media art; and the discussion of this category would not be comprehensive unless taking this medium into consideration. This study establishes a creative possibility of holography and expects the finding to lead to a greater appreciation for future time-based media art practice, thus enriching the temporal artistic expressions. Moreover, as it is practice-based, the process of the research is primarily expressed through a series of holographic artworks, and combined with written format of discussion, which is presented in this thesis. For comprehensive understanding, reading the thesis in conjunction with viewing the artworks in person is suggested, as the photographic reproduction of the holographic images in this thesis is only for illustration purpose

The role of the artist at the beginning of the twenty-first century: An exploration of dialectical processes in art and science with particular reference to biologically based art

This thesis examines the role of the artist at the beginning of the twenty-first century. It focuses on the interaction between art and science in an exploration of the dialectical processes that may occur in that interaction. Researchers have recently developed techniques in stem cell technology and genetic modification that offer remarkable potential and bring possible advantages and disadvantages for scientists and the wider community. In response to these new technologies, scientists and artists have developed collaborative projects and, in some instances, artists have moved from the studio to the science laboratory to create work called sci-art, bio-art, or moistmedia. This new inter-disciplinary activity affords prospects of dialectical processes: it crosses many boundaries and disturbs some existing conventions and practices, and, for the artists involved, the access to innovative materials has moved their work into areas of new skills and concepts. The extent to which traditional artists and those with collaborative sci-art practices contribute to the debate on important social and cultural issues forms part of this study. The research data was gathered during semi-structured interviews with scientists and artists, of whom three scientists and five artists are involved in sci-art collaborations. Proposed dialectical processes identified in the data are outlined throughout the document. A discussion about the ways in which contemporary art and artists are located within the current social and cultural environment; the status accorded visual art education today; and the manner in which commentators and other members of the public regard the elements and functions of art, forms the initial framework. This is followed by an overview of biologically based art practices, worldwide, that provides a background for a discussion of sci-art collaborations. These collaborations are initiated by a wide range of individuals and organisations and, according to the participants, the intentions of the originator or funding body have the potential to influence the outcome of the collaboration. The research explores possible conflicts of interest between the parties involved in these interactions, and any perceived implications for creative freedom. This study also examines current attitudes towards the notion of creativity in science and art, the avant-garde, and the relevance of philosophy and theory in art practices. It discusses the extent to which technology influences the creative process, and highlights issues that augment, interrogate or philosophise about the role of the contemporary artist. The research found that, although the notion of Snow’s ‘two cultures’ still has supporters, there are more similarities than dissimilarities between scientists and artists. Although some instances of Hegelian dialectical processes were identified, the data residing in many of the participants’ responses called for a more post-structuralist, non-linear approach to the dialectic as described by Jervis (1998), Janesick (2000) and others. In this way, the data drew attention to many complex issues and tensions that emanate from the interaction between art, science, technology, government and commerce, and the interaction between artists and the culture and society in which they live at the beginning of the twenty-first century