: Computer-mediated environments provide an arena for learning to argue. We investigate to what extent student dyads’ online argumentation can be facilitated with collaboration scripts that prompt learners to prepare individually, create conflict, and encourage productive collaboration and argumentation. A process analysis of the chats of the dyads showed that the scripted treatment group used significantly more words and broadened and deepened their discussions significantly more than the unscripted group. Qualitative analysis indicates that scripted learners engaged in more (...) critical and objective argumentation than non-scripted learners. (shrink)

The very beginning of collaborative research endeavors often lies in politically difficult and practically challenging entanglements. The purpose of this paper is to empirically capture and theoret...

In this piece, we articulate the "collaborative autoethnographic practice" we utilized to illustrate the complexities of mothering that involved: (a) individually writing autoethnographic narratives on mothering, (b) sharing these autoethnographic narratives in a public forum, (c) publicly discussing the heuristic commonalities across these autoethnographic narratives, (d) tying those commonalities back to the literature, and (e) revisiting the autoethnographic narratives for aspects of social critique where our autoethnographic narratives (intentionally or unintentionally) hegemonicaly reproduced cultural scripts. We argue that presenting knowledge of (...) mothering in this way, through collaborative autoethnographic practice, creates a myriad of opportunities for growth and self-reflexivity, and our stories illuminate a part of our existence that often remains unexamined in other methodologies. (shrink)

In recent times, there have been different attempts to make an interesting use of the concept of script (as inherited from the fields of psychology and cognitive sciences) within argumentation theory. Although, in many cases, what we find under this label are computerized routines mainly used in e-learning collaborative proceses involving argumentation, either as an educational means or an educational goal, there are also other studies in which the concept of script plays a more theoretical role as the (...) kind of commonly human cognitive structure that could account for the way in which argumentation might develop in ordinary language and ordinary settings. We aim at exploring these latter possibilities, differentiating between the global ascription of the script concept to argumentation practices as procedural and regulated actions from the somewhat more suggestive association between socially shared scripts (expected narratives, plausible sequences, customary experiences, etc.) and the way some enthymemes work from an interactive, rhetorical perspective. The concept of script could help us understand some more procedural than propositional aspects of the cognitive sets shared by arguer and audience and account for the communicative success of apparently defective argumentation. (shrink)

Learning to argue in a computer-mediated and structured fashion is investigated in this research. A study was conducted to compare dyads that were scripted in their computer-mediated collaboration with dyads that were not scripted. A process analysis of the chats of the dyads showed that the scripted experimental group used significantly more words, engaged in significantly more broadening and deepening of the discussion, and appeared to engage in more critical and objective argumentation than the non-scripted control group.

This empirical study examines how practitioners from the organizational functions of human resources, occupational safety and occupational health services within a Finnish industrial organization view the challenges that production supervisors face in their daily work. The article presents a formative intervention, which focuses on supervisors’ changing work and how these organizational support functions could collaboratively serve supervisors better, especially in their task of promoting well-being at work. The article approaches this collective learning effort from the framework of the Cultural Historical (...) Activity Theory , by examining how crossfunctional collaboration evolves and the transitions through which it develops in an intervention process. The development of collaboration is analysed through a process of collective concept and tool formation by following a cross-meeting trajectory of specific annual clock episodes. An annual clock, a co-ordinating tool used in organizations to assist the yearly planning and management of specific operations, emerged in the intervention as the practitioners’ attempt to synchronize overlapping and inconsistent well-being related practices assigned to supervisors. The article presents a framework that can be applied in this kind of combined empirical analysis of tool development and the evolving collaboration. The analysis shows how the idea of the annual clock grew through multifaceted conceptualizations, in which it first had the status of a conceptual object, then a collaborative tool, and eventually a script for becoming a novel cross-functional practice. Simultaneously, the mode of interaction expanded from a function-based co-ordination to task-oriented co-operation, and finally to communication. (shrink)

This essay proposes an expansion of the concept of narrative competence, beyond close reading, to include two more skills: the collaborative construction and compelling performance of stories. To show how this enhanced form of narrative competence can be attained, the essay describes Off Script, a cocurricular medical storytelling program with three phases: 1) creative writing workshop, 2) dress rehearsal, and 3) public performance of stories. In these phases, Off Script combines literary studies, creative writing, reflective practice, collegial feedback, (...) and drama. With increased narrative competence, Off Script participants are likely better equipped to engage in more impactful health advocacy and partner with patients more effectively. (shrink)

Though he has worked almost exclusively in collaborative mediums like radio and film, Orson Welles has always tended to think of himself as an individual author. "Any production in any medium is a one-man production," he said to me. On the question of sharing creative responsibility for the works that bear his name, he is deeply ambivalent. His insistence on multiple billings for himself is legendary. As I can well testify, the very mention of the term collaboration at a (...) wrong moment can be enough to send him into a rage. The controversy over who scripted Citizen Kane initiated by Pauline Kael hurt him very deeply. That the wound still festers to this day is evident in the rancor with which he speaks of former associates like John Houseman. Yet in quieter moments he will fully concede how indispensable his principal collaborators have been to him and will openly discuss the nature and extent of their contributions. He is especially full of praise for cinematographers with whom he has worked over the years, such as Gregg Toland, Russell Metty, and, more recently, Gary Graver. On Citizen Kane, he singles out four individuals whom he thinks deserve special recognition: writer Herman Mankiewicz, art director Perry Ferguson, composer Bernard Herrmann, and Toland. Of these, he says, Toland's contribution to the film was the greatest, second in importance only to his own. In this essay I deal with the history and nature of Welles' collaboration with Toland on Citizen Kane—what brought them together, their working relationship, and the characteristics and rationale of the visual plan they created for the film. As we shall see, Toland brought a largely pre-conceived visual plan to Citizen Kanewhich he had been working out in his previous films. Welles accepted Toland's plan so readily because he recognized how dramatically appropriate it was to the story material. Toland's cinematography for Citizen Kane also left a major legacy to Hollywood films of the 1940s.Robert L. Carringer, is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign. This essay is excerpted from his book in progress, The Road through Xanadu. His most recent contribution to Critical Inquiry was "The Scripts of Citizen Kane". (shrink)

Research skills are important for university graduates, but little is known about undergraduates’ motivation for research. In this study, self-efficacy beliefs and intrinsic motivation for several research activities were measured three times during an undergraduate research project. In order to promote self-efficacy for writing and collaboration, a collaboration script was developed and tested on half of the students. Twelve students were interviewed three times to gather in-depth information about motivational and self-efficacy beliefs. All measures except intrinsic motivation (...) for research increased significantly during the project. Interview results suggest that enactive mastery and positive social interdependence promoted self-efficacy. Feelings of relatedness seemed to promote intrinsic motivation for writing. Lack of autonomy and low perceived relevance may explain why motivation for research remained stable. The script had no impact on self-efficacy beliefs. Relatedness,... (shrink)

What are the ethics of child genital cutting? In a recent issue of the journal, Duivenbode and Padela (2019) called for a renewed discussion of this question. Noting that modern health care systems...

The importance of teaching critical thinking skills at the college level cannot be overemphasized. Teaching a subcategory of these skills—argument analysis—we believe is especially important for first-year students with their college careers, as well as their lives, ahead of them. The struggle, however, is how to effectively teach argument analysis skills that will serve students in a broad range of disciplines.

There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between creativity and (...) the perception and passage of time, and reviews the creativity and improvisational quality of anthropological scholarship itself. Individual essays examine how the concept of creativity has changed in the history of modern social theory, and question its applicability as a term of cross-cultural analysis. The contributors highlight the collaborative and political dimensions of creativity and thus challenge the idea that creativity arises only from individual talent and expression. (shrink)

A CHOICE Outstanding Academic Title 2012! Contemporary picturebooks open up spaces for philosophical dialogues between people of all ages. As works of art, picturebooks offer unique opportunities to explore ideas and to create meaning collaboratively. This book considers censorship of certain well-known picturebooks, challenging the assumptions on which this censorship is based. Through a lively exploration of children's responses to these same picturebooks the authors paint a way of working philosophically based on respectful listening and creative and authentic interactions, rather (...) than scripted lessons. This dialogical process challenges much current practice in education. The authors propose that a courageous and critical practice of listening is central to the facilitation of mutually educative dialogue. This book will be of interest to scholars and students of education studies, philosophy of education, literacy teaching and learning, children's literature, childhood and pedagogy. (shrink)

Encounters in the Arts, Literature, and Philosophy focuses on chance and scripted encounters as sites of tensions and alliances where new forms, ideas, meanings, interpretations, and theories can emerge. By moving beyond the realm of traditional hermeneutics, Jérôme Brillaud and Virginie Greene have compiled a volume that vitally illustrates how reading encounters represented in artefacts, texts, and films is a vibrant and dynamic mode of encountering and interpreting. With contributions from esteemed academics such as Christie McDonald, Pierre Saint-Amand, Susan Suleiman, (...) and Jean-Jacques Nattiez, this book is a multidisciplinary collaboration between scholars from a range of disciplines including philosophy, literature, musicology and film studies. It uses examples chiefly from French culture and covers the Early Modern era to the twentieth century while providing a thorough and representative array of theoretical and hermeneutical approaches. (shrink)

Encounters in the Arts, Literature, and Philosophy focuses on chance and scripted encounters as sites of tensions and alliances where new forms, ideas, meanings, interpretations, and theories can emerge. By moving beyond the realm of traditional hermeneutics, Jérôme Brillaud and Virginie Greene have compiled a volume that vitally illustrates how reading encounters represented in artefacts, texts, and films is a vibrant and dynamic mode of encountering and interpreting. With contributions from esteemed academics such as Christie McDonald, Pierre Saint-Amand, Susan Suleiman, (...) and Jean-Jacques Nattiez, this book is a multidisciplinary collaboration between scholars from a range of disciplines including philosophy, literature, musicology and film studies. It uses examples chiefly from French culture and covers the Early Modern era to the twentieth century while providing a thorough and representative array of theoretical and hermeneutical approaches. (shrink)

This excerpt from our collective biography emerges from a dialogue that commenced when Noel interjected the concept of ‘becoming-cyborg’ into our conversations about Annette’s experiences of breast cancer, which initially prompted her to interpret her experiences as a ‘chaos narrative’ of cyborgian and environmental embodiment in education contexts. The materialisation of Donna Haraway’s figuration of the cyborg in Annette’s changing body enabled new appreciations of its interpretive power, and functioned in some ways as a successor project to Noel’s earlier deployment (...) of cyborgs in what he now recognises as a ‘posthumanising’ of curriculum inquiry. Noel’s subsequent experiences with throat cancer drew us towards exploring the possibilities that concepts such as Deleuze and Guattari’s machinic assemblage and Karen Barad’s ontoepistemology offer as a mean of thinking the meetings of bodies and technologies in educational inquiry beyond Haraway’s hybrid cyborg. Through both collective biography and playfully scripted conversations with other theorists we explore what it means to perform diffractive interpretations and analyses in posthumanist educational inquiry. Our essay also contributes to contemporary conversations about the uses of collaborative biographical writing as a method of inquiry in educational research. (shrink)

Around the world, many schools were closed as one of the measures to contain the spread of the COVID-19 pandemic. School closure brought about important challenges to the students' learning process. This context requires strong self-regulatory competences and agency for autonomous learning. Moreover, online remote learning was the main alternative response to classroom learning, which increased the inequalities between students with and without access to technological resources or for those with low digital literacy. All considered, to level the playing field (...) for students without digital resources, there is an urgent need to promote self-regulatory competences through offline intervention solutions. The current paper describes a project with this purpose, using radio broadcasting and letters to reach elementary students without digital resources. Moreover, potential reach and participants' perspectives of the project implementation are presented and discussed. The project draws on a prior evidence-based story-tool intervention grounded on a self-regulated learning framework. The original intervention was set previous to the COVID-19 pandemic and was implemented in the classroom context (N= 1,103 students). Once the schools had been closed down, the mode of intervention was adapted with the collaboration of the community. Alternative solutions were developed as follows: (i) story chapters were read on the radio and students received to their homes a printed script, prompting reflection, and suggesting related activities; (ii) students were provided with the story-tool to read autonomously and received letters from the main characters of the story which included, for example, suggestions for activities and reflection. These two alternative modes of intervention delivery potentially reached 394 elementary students, including students with digital resources. Interviews conducted with a group of students were provided information about the positive aspects of these two modes of intervention delivery, perceived learning (e.g., planning), constraints, and suggestions to improve the project. The current work is likely to merit attention from researchers and educational practitioners, given the need to use offline alternatives to provide support for students without digital resources to engage in autonomous learning during the pandemic period. This project may also be used as an alternative or a complementary solution to online modality. (shrink)

To do minor activist research is to create and make use of critical neologistic vocabularies hopefully balancing the ascetic impoverishment of direction and syntax in majority vocabularies when conceptualized as universals. To do minor activist research is therefore to unsettle received discourses, narratives, and material social practices of power to develop means of resistance in new and different registers. To do minor activist research is to train the imagination for a collaboratively accomplished re/presentation of data through creating points of encounters, (...) thus engendering an affirmative perspectivist’s ethos. Re/presenting data as a space in which one’s own thinking is challenged, hence providing a perspective of the storying practices across participants and across different disciplinary, ideological, or personal boundaries within the researcher’s and the researched specific positioning. This requires getting everyone to participate in the “analysis” of data, and then getting everyone “inside” the text: situating data-inquiries in immanence. It therefore demands a liberation from old scripts, and challenges how everyone is transformed into text, with perspectivism being simultaneously means and objective for avoiding the reproduction of both old scripts and ethics. Our goal is to enhance (self)reflexivity regarding knowledge production and research methodologies, to influence actual research practices through fostering a more inclusive, open, and collaborative approach to research that transcends traditional boundaries and embraces the fluid and hybrid nature of knowledge production. Ultimately, turning the concept of ethics through minoring into a thinking hub and pedagogy for change. The first and theoretical section is on how to ethically represent data in a new-empiricist and post qualitative environment. We call it data-philosophy. Our ontological approach brings its own concepts, which reflect the perspectives from which we argue. In the three next sections, we follow up by looking more closely into these ideas in re/presenting empirical qualitative research to invite hybrid and fluid configurations. Here, activist research refers to bringing actors into our thinking about the data, to accentuate the collaborative, open to thinking differently through staying close to the data. We then bring it all together in a section on the rebirth of language, to open for what we refer to as a storying personifying, thereby storying data together as a process of becoming, of mutuality and affect as a source of agency. We argue that this creates a theory of science and ethics in data analysis, and in re/presenting data, which are closely entangled. (shrink)

Since the late 1980s, intersex adults and activists have critiqued the clinical recommendations defined in the 1950s to treat children born with ‘ambiguous genitalia’ with normalising medicine. While their struggles continue, in particular to halt the practice of genital surgery in early infancy, some European surgeons travel to African countries to transfer standards of care that have become highly controversial in the North, including in the medical community. Simple disapproval of these tours as ‘surgical safaris’ forecloses the possibility of analysing (...) more complex situations in which the so-called transfer of competence involves surgeons who promote ‘less cutting and more talking’. Such is the case – and the interest – of the surgical missions in West Africa in which I conducted recent fieldwork, accompanying a team of paediatric surgeons from a European university hospital collaborating with a renowned international NGO. This article analyses the ways in which a variation of sex development called hypospadias is framed and managed in this context through what I call a surgical script for hypospadias. I examine the conditions of (im-)possibility for Northern surgeons to operationalise, and sometimes revise, this script at the missions (but also closer to home). I discuss what the surgeons do in practice to reflect critically on the normative work of the surgical script for hypospadias as a social script on morphological ideals of sex, gender and reproductive heterosexuality. I consider in what sense genital surgery can be said to (re-)construct ‘normal’-looking genitalia, but also, fundamentally, the very idea of genitalia. (shrink)

In the middle of the eighteenth century, Carl von Linné, Johann Christoph Gatterer, and Christian Wilhelm Büttner attempted to realize the old idea of deciphering the alphabet of the world, which Francis Bacon had raised as a general postulate of science. This article describes these attempts and their interrelations. Linné used the model of the alphabet to classify plants according to the characters of this fruiting body. Gatterer, one of the leading German historians during the Enlightenment, adopted the botanical method (...) of classification by genus and species to classify the history of scripts. He used the forms of the alphabetic characters to measure the age of manuscripts and to map the process of history as a genealogy of culture. Gatterer collaborated closely with Büttner, the first Göttingen professor of natural history. Büttner constructed a general alphabet of languages which connected the phonetics of language with the historically known alphabets. Early on, diplomatics and ethnography combined the natural order of natural history and the cultural order of the alphabet with the attempt to register development and to document development by the evolution of forms. Based on the shared model of the alphabet and on the common necessity to classify their empirical material, natural history and the description of culture were related attempts in the middle of the eighteenth century to comprehend the alphabetically organized nature and a naturally ordered culture. (shrink)

This article shows how journalists deploy membership categorization in managing conversational drama among ordinary individuals in live television discussion. The scripted agenda for the discussion is analyzed as an interactional project, being prosecuted by the hosting journalists. The case in focus is a Finnish discussion program broadcast six days after the 9/11 terrorist attacks in the USA in 2001. Five guests are invited to the studio and introduced to the audience. The membership categories that are activated at the beginning of (...) each entrance are consequential to the way the interactional activities unfold in the rest of the discussion, leading from experiential entitlement to accountability and accusation. Introductory identifications are utilized in the question formulation to push moral accounts from the category members and to build an institutionally proper identity for the journalists. The collaboration in realizing the moral casting vividly illustrates the cultural power of the categorization device in action. (shrink)

For historians of psychology, Hugo Münsterberg is best remembered as William James’ successor as director of the Harvard Psychological Laboratory and a pioneer of applied psychology. By contrast, for film and media studies scholars, Münsterberg is recognized less for his contributions to experimental psychology than for those to film theory, a field in which his penultimate book, The Photoplay: A Psychological Study (1916), is frequently claimed as an inaugural text. However, lost in the blind spots of both disciplinary perspectives has (...) been a thorough examination of Münsterberg's collaboration with Paramount Pictures, translating psychological tests into experimental short films. Despite reaching millions of moviegoers in 1916, Münsterberg’s ‘Testing the Mind’ series has received little attention from historians of science and early cinema alike. One reason for this neglect is that, to date, not a single extant copy of a ‘Testing the Mind’ release has been located. This article is about the author's efforts, in collaboration with students, to reanimate these lost psychological tests for the screen through meticulous historical reconstruction based on the original scripts, journalistic accounts, and correspondence between Münsterberg and Paramount. This reconstructive process, I show, yields new insights into the relationship between psychology and early cinema and an opportunity for reflection on this promising new space for research at the intersection of media archaeology, the history of psychology, and experimental history of science. Film URL: https://archive.org/details/munsterberg_paramount.pictographs. (shrink)

Purpose – Tabletop online role-playing games enable active learning appropriate for different ages and learner capabilities. They have also been implemented in computer and engineering ethics courses. The paper aims to discuss these issues. Design/methodology/approach – This paper presents the experience of implementing role-playing in several courses embedded in Web 2.0 environment, with an intention to confront complex and sometimes mutually conflicting concepts, and integrate them into a whole. Findings – Typical examples introducing two basic scenarios representing individual and collaborative (...) learning scripts are presented together with the detailed analysis how the games were performed, the effort to participate in, and to maintain them. Particular attention is paid to student feedback. Originality/value – The paper concludes with the basic findings of the effects of role-playing in current learning computer ethics and social responsibilities courses, and recommendations for future implementation of similar asynchronous learning online activities in order to increase their academic value and prepare students for their forthcoming professional integration. (shrink)

The modernization of Burgundy during the late nineteenth and early twentieth centuries drew on the coordinated efforts of numerous industrial and cultural sectors. Among these innovative developments, new tourism industries played a prominent role in providing new opportunities for the consumption of local products while redefining existing conceptions of Burgundian landscapes. This entailed collaboration of a variety of cultural intermediaries ranging from local boosters to politicians and from merchants to academics. Geographers contributed by incorporating symbolic, subjective, and performative practices (...) into the existing regional concepts of terroir and genres-de-vie. The result was newly scripted roles for tourists and locals to participate in gastronomic activities that, by virtue of the experience, altered participants’ experience of time, space, and themselves. Rapidly institutionalized in Burgundy, these developments illustrate how contemporary commercial interests influenced geographic notions of place in the French provinces. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

The Bakhtin we know best is something of a lyricophobe and theatrophobe. This is surprising, since he loves the act of looking. His scenarios rely on visualized, collaborative communion. He cares deeply about embodiment. Does he care about the tasks that confront the actor? Not the improvising clown of carnival (carnival is theater only in the broad sense of performance art), but the trained artist who performs a play script on stage? In discussing these questions, this essay draws on (...) two suggestive places in Bakhtin’s writing where he addresses the actor’s art. One is from the mid-1920s; the other (1944), is on Shakespearean tragedy. If Bakhtin has a theatrical imagination, it will be found here. His grasp of an actor “living in” to a role and his comments on the evolution of the European stage cast his better-known ideas of dialogue, comedy, seriousness and the sacred into unexpected perspective. (shrink)

BackgroundThe objective of this study was to evaluate the nature and extent of reproducible and transparent research practices in neurology publications.MethodsThe NLM catalog was used to identify MEDLINE-indexed neurology journals. A PubMed search of these journals was conducted to retrieve publications over a 5-year period from 2014 to 2018. A random sample of publications was extracted. Two authors conducted data extraction in a blinded, duplicate fashion using a pilot-tested Google form. This form prompted data extractors to determine whether publications provided (...) access to items such as study materials, raw data, analysis scripts, and protocols. In addition, we determined if the publication was included in a replication study or systematic review, was preregistered, had a conflict of interest declaration, specified funding sources, and was open access.ResultsOur search identified 223,932 publications meeting the inclusion criteria, from which 400 were randomly sampled. Only 389 articles were accessible, yielding 271 publications with empirical data for analysis. Our results indicate that 9.4% provided access to materials, 9.2% provided access to raw data, 0.7% provided access to the analysis scripts, 0.7% linked the protocol, and 3.7% were preregistered. A third of sampled publications lacked funding or conflict of interest statements. No publications from our sample were included in replication studies, but a fifth were cited in a systematic review or meta-analysis.ConclusionsCurrently, published neurology research does not consistently provide information needed for reproducibility. The implications of poor research reporting can both affect patient care and increase research waste. Collaborative intervention by authors, peer reviewers, journals, and funding sources is needed to mitigate this problem. (shrink)

In the middle of the eighteenth century, Carl von Linné, Johann Christoph Gatterer, and Christian Wilhelm Büttner attempted to realize the old idea of deciphering the alphabet of the world, which Francis Bacon had raised as a general postulate of science. This article describes these attempts and their interrelations. Linné used the model of the alphabet to classify plants according to the characters of this fruiting body. Gatterer, one of the leading German historians during the Enlightenment, adopted the botanical method (...) of classification by genus and species to classify the history of scripts. He used the forms of the alphabetic characters to measure the age of manuscripts and to map the process of history as a genealogy of culture. Gatterer collaborated closely with Büttner, the first Göttingen professor of natural history. Büttner constructed a general alphabet of languages which connected the phonetics of language with the historically known alphabets. Early on, diplomatics and ethnography combined the natural order of natural history and the cultural order of the alphabet with the attempt to register development and to document development by the evolution of forms. Based on the shared model of the alphabet and on the common necessity to classify their empirical material, natural history and the description of culture were related attempts in the middle of the eighteenth century to comprehend the alphabetically organized nature and a naturally ordered culture. (shrink)

The process of conceptualization and creation of a film score heavily depends on the collaboration between the film director and composer. The harmony of the director’s and film composer’s ideas should provide an impetus for the synchronization of literature (the script and film narrative) and music (film score). This was mainly used as a guide in crafting the film score for the independent film Ang Panggagahasa kay Fe (The Rapture of Fe, 2009) directed by Alvin Yapan. This article (...) explores how the music is deployed to resonate with the mythic and folkloric sensibility of the film narrative. We chose to use the tambuleleng, a native lute instrument/chordophone from Bukidnon, Southern Philippines, that is a modern adaptation of three traditional instruments. In its invention, its crafting, and in the sounds it produces, the tambuleleng is an artful blending of tradition and modernity. The tambuleleng’s composition, its symbolism and function in native life and rituals, aside from the sound it creates, all became material in conveying the folkloric narrative, and articulating the issues presented in the film. Some concerns on Philippine film musical scoring are also tackled, mainly focusing on the constraints, as well as the liberties involved when operating within a limited budget for an independent movie production. (shrink)

Family-focused community education implies a relational pedagogy, whereby people of different ages and experiences, including children, engage interdependently in the education of selves and others. Educational projects grow out of lived experiences and relationships, evolving in dynamic conditions of community self-organisation and self-expression, however partial and approximate, as opposed to habitual and repetitive actions. In developing educational activities through radical listening, community educators aim to reflect the character of the neighbourhood and build on local knowledge and expertise. The paper reports (...) on ways in which one community school invited, encouraged and supported children as co-educators through projects that promoted collaborative leadership and unfolded, rather than being delivered through planned and scripted lessons. These were creative projects of cultural significance, characterised by attentive listening and aiming to promote intergenerational conversation. Through such transformative projects children emerged as educators by acting as catalysts of change, as cultural producers and as conversationalists, as did their parents and other members of the school community. The paper concludes that community co-education ideas should be re-visited to breathe new life into educational and social actions today. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Boundaries: Writing and DrawingTom ConleyBoundaries: Writing and Drawing, edited by Martine Reid; Yale French Studies, iv & 268 pp. New Haven: Yale University Press, 1994, $15.95 paper.The fifteen articles of this issue of Yale French Studies discern the limits of meaning and legibility wherever writing and drawing become coextensive. In pondering the origins of writing Henry-Jean Martin (in Le pouvoir et l’histoire de l’écrit) has recently asked if (...) script and print have evolved from pictographic or hieroglyphic writing. If so, he implies, to what degree does visual force animate all writing? How does meaning, otherwise conveyed through writing, get complicated or subverted by the shape or motion of its form? When does the writer engage the illegible to call into question communication in general? Citing Michel Foucault, for whom calligraphy and drawing offer a glimpse of an “immense and unavowable teratology” (p. 12), the editor argues that the visible matter of discourse becomes its repressed or irrecuperable—hence supremely literary—worth.She organizes the contributions under three rubrics. Part one studies the history of the relation of writing to drawing through emphasis on psychogenesis. For Serge Tisseron an “inscriptive gesture” (p. 29), a memory of a manual pleasure, is relayed through the artist’s or writer’s labors. The written trace recalls originary separation, the page becoming a “metaphoric container of one’s own body and the mother’s body” (p. 41). Georges Roque shows how postcartesian ideology associates line with philosophy and relegates color to a lower order of sensation. In a Derridean turn he notes, “color is to drawing as [End Page 410] writing is to speech” (p. 57). Jean-Gérard Lapacherie argues that we are taught to exclude reading from the act of looking at a text, and that contemporary literature forcibly erodes that division.Part two is devoted to close analysis of writers who draw. Jacques Leenhardt brilliantly analyzes visual and aural displacements, even condensations, what he calls “monograms of sensation,” in the sketches and notes in Stendhal’s Journal de Paris. Alain Buisine traces the appeal that drawings of Rimbaud’s face had for the poet’s milieu. Claude Gandelman studies Proust’s manuscript drawings in light of the broader process of dreamwork in A la recherche du temps perdu. Looking at the Cahiers, 1894–1914, Serge Bourjea contends that for Paul Valéry the labors of intellection and writing are a “matter of sketching” (p. 137), or of perpetually “rough” drafting. Jacques Derrida’s “Maddening the Subjectile,” Mary Ann Caws’s limpid translation of an essay on Artaud’s textual drawings (“Forcener le subjectile”), defines a pictogram as what moves ceaselessly and inseparably between painting, drawing, and verbal expression.Part three moves toward artists who write. Bernard Vouilloux rehearses Derrida’s arguments about the “supplement” and the pictogram to themes of painting and painters in Rousseau’s early and later works. Michel Thévoz gives a dazzling reading of Jean Dubuffet’s art brut dans l’écriture, the explosive sketching of discourse that fractures the icons of elegance and control that project the myth of clear and classical French. Jan Baetens calls “latent violence” the marvelous areas where image, geometrical form, typography, and enunciation abut each other in M. C. Escher’s drawings, Régis Franc’s comic strips, and Martin Vaughn-James’s La Cage. Renée Riese Hubert sums up the volume with a study of the double binds that Derrida and Adami project in their collaborations of drawing and writing.This issue of Yale French Studies holds to the theme of writing as drawing. Martine Reid’s introduction and her two interviews with Michel Butor and Yves Bonnefoy map out an overall itinerary of vicious circularity. Literature is a continuing regression, fraught with pleasure and risk, that takes place when language, writing, and drawing are conflated. All of the essays are of high quality. Tisseron, Leenhardt, Derrida, and Thévoz set a standard to which the others conform. All adepts of art and literature will welcome this fabulous volume.Tom ConleyHarvard UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

The book contains essays in honor of Victor Raskin. The contributions are all directly related to some of the major areas of work in which Raskin's scholarship has spanned for decades. The obvious connecting idea is the encyclopedic script-based foundation of lexical meaning, which informs his pioneering work in semantics in the 1970s and 1980s. The first part of the book collects articles directly concerned with script-based semantics, which examine both the theoretical and methodological premises of the idea (...) and its applications. Script-based semantics is the foundation of both Raskin's ground-breaking work in humor research (addressed by the articles in part 2) and in Ontological semantics (addressed in part 3), the most recent development of script-based semantics. The fourth part is dedicated to a less-known, but equally important, strand of Raskin's research, the applications of linguistics to other fields, including writing, lexicography, and professional applications (e,g., tourism). Overall, the book provides and up-to-date, in-depth discussion of an influential strand of the discussion on semantics and its most recent developments and influence on other seemingly unrelated fields, such as Cognitive Linguistics. (shrink)

Sustainability challenges typically occur across sectoral boundaries, calling the state, market, and civil society to action. Although consensus exists on the merits of cross-sector collaboration, our understanding of whether and how it can create value for various, collaborating stakeholders is still limited. This special issue focuses on how new combined knowledge on cross-sector collaboration and business models for sustainability can inform the academic and practitioner debates about sustainability challenges and solutions. We discuss how cross-sector collaboration can play (...) an important role for the transition to new and potentially sustainability-driven business models given that value creation, delivery, and capture of organizations are intimately related to the collaborative ties with their stakeholders. Sustainable alternatives to conventional business models tend to adopt a more holistic perspective of business by broadening the spectrum of solutions and stakeholders and, when aligned with cross-sector collaboration, can contribute new ways of addressing the wicked sustainability problems humanity faces. (shrink)

To explain how social cognition normally serves us in real life, we need to ask which factors contribute to specific social interactions. Recent accounts, and mostly pluralistic models, have started incorporating contextual and social factors in explanations of social cognition. In this paper, I further motivate the importance of contextual and identity factors for social cognition. This paper presents scripts as an alternative resource in social cognition that can account for contextual and identity factors. Scripts are normative and context-sensitive knowledge (...) structures that describe behavior in terms of corresponding events, situations, social roles, individuals, or mental state types in a way that guides action. The script approach presented here builds on recent accounts of social cognition but points out important differences and possible advantages it has over them: for example, the script approach focuses even more strongly on context and identity. (shrink)

To explain how social cognition normally serves us in real life, we need to ask which factors contribute to specific social interactions. Recent accounts, and mostly pluralistic models, have started incorporating contextual and social factors in explanations of social cognition. In this paper, I further motivate the importance of contextual and identity factors for social cognition. This paper presents scripts as an alternative resource in social cognition that can account for contextual and identity factors. Scripts are normative and context-sensitive knowledge (...) structures that describe behavior in terms of corresponding events, situations, social roles, individuals, or mental state types in a way that guides action. The script approach presented here builds on recent accounts of social cognition but points out important differences and possible advantages it has over them: e.g., the script approach focuses even more strongly on context and identity. (shrink)

The guide dog robot (GDR) is a low-speed companion robot that serves visually impaired people and is used to guide blind people to walk steadily, carrying a variety of intelligent technologies and needing to have the ability to guide with optimal energy consumption in specific scenarios. This paper proposes an innovative technique for virtual-real collaborative path planning and navigation of the GDR specific indoor scenarios, and designs an experimental method for virtual-real collaborative path planning of the GDR specific scenarios. The (...) energy consumption integral equation is used to solve for the energy consumption of the GDR with virtual-real synergy, and the difference in energy consumption is compared for three different navigation directions: horizontal, vertical and oblique obstacle avoidance. The results show that the optimized GDR saves 6.91% in rectilinear movement and 10.60% in curved movement. The efficiency of planning and navigating the GDR in specific domestic scenarios is verified by a virtual-real cooperative. The realization of optimal path planning for energy consumption is instrumental in exploring many of the most significant thought in the path planning and navigation of mobile robots in indoor specific scenarios. (shrink)

Architectural research forms the basis of design in seeking a solution that considers the site’s sociopolitical and spatial-cultural factors and the built environment surrounding it. In addressing industrial heritage, industrial revolutions, energy transitions, and technological innovation uniquely shape the city. The transformation and new discourse between similar heritage and different sites allow for a combination of ideas with transnational and interdisciplinary depth, bolstering individual designs through a developed perspective on industrial architecture. This studio addresses the socio-political and spatial-cultural challenges of (...) post-industrial cities. This article uses a critical, comparative, and analytical problem-based design research approach to examine collaborative pedagogical practices that can build a new image and identity through adaptive reuse strategies in the post-industrial urbanscape. (shrink)

Collaborative remembering, in which two or more individuals cooperate to remember together, is an ordinary occurrence. Ordinary though it may be, it challenges traditional understandings of remembering as a cognitive process unfolding within a single subject, as well as traditional understandings of memory knowledge as a justified memory belief held within the mind of a single subject. Collaborative memory has come to be a major area of research in psychology, but it has so far not been investigated in epistemology. In (...) this chapter, we attempt an initial exploration of the epistemological implications of collaborative memory research, taking as our starting point the “extended knowledge” debate which has resulted from the recent encounter between extracranialist theories of cognition and externalist theories of knowledge (Carter et al., 2014; Carter et al., forthcoming). Various forms of socially and technologically augmented memory have played important roles in the extended knowledge debate, but the debate has so far not taken collaborative memory, in particular, into account. We will argue that collaborative memory supports a novel externalist theory of knowledge: distributed reliabilism. Distributed reliabilism departs in two important respects from both traditional reliabilism (Goldman, 2012) and updated theories such as extended (Goldberg, 2010) and social reliabilism (Goldman, 2014). First, it acknowledges that belief-forming processes may extend extracranially to include processing performed both by other subjects and by technological artifacts. Second, it acknowledges that distributed sociotechnical systems themselves may be knowing subjects. Overall, then, the main aim of the chapter is to draw out the philosophical implications of psychological research on collaborative memory. But our argument will also suggest that it may be useful to broaden the standard conception of collaborative memory to include not only the sorts of direct interactions among subjects that have been the focus of psychological research so far but also a range of more indirect, technology-supported and -mediated interactions, and it thus has implications for psychology as well. (shrink)

Depression is a widespread concern in the United States. Neuromodulation treatments are becoming more common but there is emerging concern for racial disparities in neuromodulation treatment utilization. This study focuses on Transcranial Magnetic Stimulation (TMS), a treatment for depression, and the structural and attitudinal barriers that racialized individuals face in accessing it. In January 2023 participants from the Twin Cities, Minnesota engaged in focus groups, coupled with an educational video intervention. Individuals self identified as non-white who had no previous TMS (...) exposure but had tried at least one treatment for their depression. Results revealed that the intervention did not notably change knowledge or stigma about TMS, but attitudes surrounding traveling for treatment changed. Notably, barriers like affordability, frequency of treatment, and lack of knowledge persist. Participants expressed a desire for more information, personal connection, and a tailored educational approach. The study suggests a need for multifaceted strategies to reduce disparities, focusing on education, community-based resources, and policy interventions. Immediate actions that can be taken include the creation of a TMS education program focused on patient engagement and awareness about TMS. (shrink)

As clinical-psychological scientists and practitioners increasingly work with diverse populations of traumatized people, it becomes increasingly important to attend to cultural models that influence the ways in which people understand and describe their responses to trauma. This paper focuses on potential uses of the concept of cultural script in this domain. Originally described by cognitive psychologists in the 1980s, scripts refer to specific behavioral and experiential sequences of elements such as thoughts, memories, attention patterns, bodily sensations, sleep abnormalities, emotions (...) and affective expressions, motivation, coping attempts and ritualized behaviors that are relevant to posttraumatic adjustment. We differentiate between experiences of traumatic stress that are scripted (e.g., cultural explanations are available) versus unscripted. Further characteristics such as script tracks, the effect of script interruptions, and contextual fit of scripts with other cultural models are also described. We consider examples of traumatic stress associated with war and organized, sexualized violence from ‘Western’ and ‘non-Western’ world regions. The concluding part of this review describes a number of possibilities for methodological approaches to assessment of cultural scripts. Capturing central elements of the script(s) of trauma would aid psychological researchers and clinicians in understanding the experiences of trauma in cultural context, which could ultimately lead to better clinical service opportunities worldwide. (shrink)