The Cognitive-Emotional Design and Study of Architectural Space: a Scoping Review of Neuroarchitecture and Its Precursor Approaches
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The Application of Visualisation
THE APPLICATION OF VISUALISATION TOOLS TO ENABLE ARCHITECTS TO EXPLORE THE DYNAMIC CHARACTERISTICS OF SMART MATERIALS IN A CONTEMPORARY SHANASHIL BUILDING DESIGN ELEMENT FOR HOT ARID CLIMATES Tamarah Alqalami Ph.D. Thesis 2017 THE APPLICATION OF VISUALISATION TOOLS TO ENABLE ARCHITECTS TO EXPLORE THE DYNAMIC CHARACTERISTICS OF SMART MATERIALS IN A CONTEMPORARY SHANASHIL BUILDING DESIGN ELEMENT FOR HOT ARID CLIMATES School of the Built Environment University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, August 2017 Table of Contents TABLE OF CONTENTS ......................................................................................................................... I LIST OF FIGURES ................................................................................................................................ V LIST OF TABLES ................................................................................................................................. IX ACKNOWLEDGEMENT ....................................................................................................................... X DEDICATION ...................................................................................................................................... XI ABBREVIATIONS ............................................................................................................................. XII ABSTRACT ...................................................................................................................................... -
Two Conceptions of Harmony in Ancient Western and Eastern Aesthetics: “Dialectic Harmony” and “Ambiguous Harmony”
TWO CONCEPTIONS OF HARMONY IN ANCIENT WESTERN AND EASTERN AESTHETICS: “DIALECTIC HARMONY” AND “AMBIGUOUS HARMONY” Tak-lap Yeung∗ Abstract: In this paper, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful. The different understandings of the concept of harmony lead to at least two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity. Through an explication of the original meaning and relation between the concept of harmony and beauty, we can learn more about the cosmo-metaphysical origins in Western and Eastern aesthetics, with which we may gain insights for future aesthetics discourse. Introduction It is generally accepted that modern philosophy can trace itself back to two major origin points, ancient Greece in the West and China in the East. To understand the primary presuppositions of Western and Eastern philosophical aesthetics, we must go back to these origins and examine the core concepts which have had a great influence on later aesthetic representation. Inspecting the conception of “harmony”, a central concept of philosophical aesthetic thought for both the ancient Greek and Chinese world, may bring us valuable insight in aesthetic differences which persist today. In the following, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful.1 The different understandings of the concept of harmony lead to, at least, two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity. -
HARMONY HAMMOND with Phillip Griffith
Art June 3rd, 2016 INCONVERSATION HARMONY HAMMOND with Phillip Griffith Harmony Hammond made her start as an artist in the feminist milieu of 1970s New York, co-founding A.I.R. Gallery, the first women’s gallery, in 1972. Her early artwork developed a feminist, lesbian, and queer idiom for painting and sculpture, especially in such celebrated works as her woven and painted Floorpieces (1973) and wrapped sculptures, like Hunkertime (1979 – 80). Since 1984, she has lived and worked in New Mexico. Her current show at Alexander Gray Associates (May 19 – June 25, 2016) showcases what she calls her “near monochrome” paintings and monotype prints on grommeted paper that Lucy Lippard has termed “grommetypes.” On the occasion of the exhibition’s opening, Hammond spoke with Phillip Griffith about martial arts, the painting body, and violence in her work. Phillip Griffith (Rail): Your paintings from this new exhibition seem appreciably different than the wrapped paintings included in your 2013 show with Alexander Gray. Harmony Hammond: Well, Things Various (2015), the earliest painting in the current exhibition, segues from the 2013 work. The visual vocabulary of grommeted straps—sometimes tied together, sometimes not—attached to the thick paint surface with pigment-covered pushpins, is the same. Only in Things Various, most of the straps hang open, untied, suggesting only the potential of connection or restraint. The new paintings continue to emphasize the material engagement of paint, but differ from the earlier work through the use of the grommeted grid as a disruptive visual strategy and the shift to what is going on beneath/below/under what we perceive as the painting surface. -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
The Ouroboros Model, Proposal for Self-Organizing General Cognition Substantiated
Opinion The Ouroboros Model, Proposal for Self-Organizing General Cognition Substantiated Knud Thomsen Paul Scherrer Institut, 5232 Villigen-PSI, Switzerland; [email protected] Abstract: The Ouroboros Model has been proposed as a biologically-inspired comprehensive cog- nitive architecture for general intelligence, comprising natural and artificial manifestations. The approach addresses very diverse fundamental desiderata of research in natural cognition and also artificial intelligence, AI. Here, it is described how the postulated structures have met with supportive evidence over recent years. The associated hypothesized processes could remedy pressing problems plaguing many, and even the most powerful current implementations of AI, including in particular deep neural networks. Some selected recent findings from very different fields are summoned, which illustrate the status and substantiate the proposal. Keywords: biological inspired cognitive architecture; deep neural networks; auto-catalytic genera- tion; self-reflective control; efficiency; robustness; common sense; transparency; trustworthiness 1. Introduction The Ouroboros Model was conceptualized as the basic structure for efficient self- Citation: Thomsen, K. The organizing cognition some time ago [1]. The intention there was to explain facets of natural Ouroboros Model, Proposal for cognition and to derive design recommendations for general artificial intelligence at the Self-Organizing General Cognition same time. Whereas it has been argued based on general considerations that this approach Substantiated. AI 2021, 2, 89–105. can shed some light on a wide variety of topics and problems, in terms of specific and https://doi.org/10.3390/ai2010007 comprehensive implementations the Ouroboros Model still is severely underexplored. Beyond some very rudimentary realizations in safeguards and safety installations, no Academic Editors: Rafał Drezewski˙ actual artificially intelligent system of this type has been built so far. -
The Creative Act in the Dialogue Between Art and Mathematics
mathematics Article The Creative Act in the Dialogue between Art and Mathematics Andrés F. Arias-Alfonso 1,* and Camilo A. Franco 2,* 1 Facultad de Ciencias Sociales y Humanas, Universidad de Manizales, Manizales 170003, Colombia 2 Grupo de Investigación en Fenómenos de Superficie—Michael Polanyi, Departamento de Procesos y Energía, Facultad de Minas, Universidad Nacional de Colombia, Sede Medellín, Medellín 050034, Colombia * Correspondence: [email protected] (A.F.A.-A.); [email protected] (C.A.F.) Abstract: This study was developed during 2018 and 2019, with 10th- and 11th-grade students from the Jose Maria Obando High School (Fredonia, Antioquia, Colombia) as the target population. Here, the “art as a method” was proposed, in which, after a diagnostic, three moments were developed to establish a dialogue between art and mathematics. The moments include Moment 1: introduction to art and mathematics as ways of doing art, Moment 2: collective experimentation, and Moment 3: re-signification of education as a model of experience. The methodology was derived from different mathematical-based theories, such as pendulum motion, centrifugal force, solar energy, and Chladni plates, allowing for the exploration of possibilities to new paths of knowledge from proposing the creative act. Likewise, the possibility of generating a broad vision of reality arose from the creative act, where understanding was reached from logical-emotional perspectives beyond the rational vision of science and its descriptions. Keywords: art; art as method; creative act; mathematics 1. Introduction Citation: Arias-Alfonso, A.F.; Franco, C.A. The Creative Act in the Dialogue There has always been a conception in the collective imagination concerning the between Art and Mathematics. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Introduction and Methods the Field of Neuroesthetics Is a Recent Marriage
Introduction and Methods The field of neuroesthetics is a recent marriage of the realms of neuroscience and art. The objective of neuroesthetics is to comprehend the perception and subjective experience of art in terms of their neural substrates. In this study, we examined the effect of a number of original pieces of art on the brain of the artist herself and on that of a novice as she experienced the artwork for the first time. This allowed us to compare neural responses not only amongst different visual conditions but also between an expert (i.e. the artist) and a novice. Lia Cook lent her artwork to be used in this study. The pieces, which she believes to have an innate emotional quality, are cotton and rayon textiles. All of the pieces are portraits with a somewhat abstract, pixelated appearance imparted by the medium. In order to better understand the neural effects of the woven facial images, we used several types of control images. These included (i) scrambled woven pieces, or textiles that were controlled for color, contrast, and size but contained no distinct facial forms; and (ii) photographs, which were all photographs of human faces but were printed on heavy paper and lacked the texture and unique visual appearance of the textiles. All of the pieces are 12.5 in. x 18 in. The expert and novice were each scanned with functional MRI while they viewed and touched the tapestries and photographs. The subjects completed 100 trials divided across two functional scans. Each trial lasted a total of 12 s, with jittered intervals of 4 s to 6 s between trials. -
Autism and the Social Brain a Visual Tour
Autism and the Social Brain A Visual Tour Charles Cartwright, M.D. Director YAI Autism Center “Social cognition refers to the fundamental abilities to perceive, categorize, remember, analyze, reason with, and behave toward other conspecifics” Pelphrey and Carter, 2008 Abbreviation Structure AMY Amygdala EBA Extrastriate body area STS Superior temporal sulcus TPJ Temporal parietal junction FFG Fusiform gyrus OFC Orbital frontal gyrus mPFC Medial prefrontal cortex IFG Inferior frontal Pelphrey and Carter 2008 gyrus Building Upon Structures and Function Pelphrey and Carter 2008 Neuroimaging technologies • Explosion of neuroimaging technology – Faster, more powerful magnets – Better resolution images showing thinner slices of brain • Visualize the brain in action • Explore relationship between brain structure, function, and human behavior. • Help identify what changes unfold in brain disorders like autism Neuroimaging in ASDs • No reliable neuroimaging marker • Imaging not recommended as part of routine work- up • Neuroimaging research can provide clues to brain structure and function and to neurodevelopmental origins Structural Brain Imaging • MRI and CT • Allows for examination of structure of the brain • Identifies abnormalities in different areas of brain • Helps understand patterns of brain development over time MRI • Magnetic Resonance Imaging • Uses magnetic fields and radio waves to produce high-quality two- or three dimensional images of brain structures • Large cylindrical magnet creates magnetic field around head; radio waves are -
Cognitive Computing Systems: Potential and Future
Cognitive Computing Systems: Potential and Future Venkat N Gudivada, Sharath Pankanti, Guna Seetharaman, and Yu Zhang March 2019 1 Characteristics of Cognitive Computing Systems Autonomous systems are self-contained and self-regulated entities which continually evolve them- selves in real-time in response to changes in their environment. Fundamental to this evolution is learning and development. Cognition is the basis for autonomous systems. Human cognition refers to those processes and systems that enable humans to perform both mundane and specialized tasks. Machine cognition refers to similar processes and systems that enable computers perform tasks at a level that rivals human performance. While human cognition employs biological and nat- ural means – brain and mind – for its realization, machine cognition views cognition as a type of computation. Cognitive Computing Systems are autonomous systems and are based on machine cognition. A cognitive system views the mind as a highly parallel information processor, uses vari- ous models for representing information, and employs algorithms for transforming and reasoning with the information. In contrast with conventional software systems, cognitive computing systems effectively deal with ambiguity, and conflicting and missing data. They fuse several sources of multi-modal data and incorporate context into computation. In making a decision or answering a query, they quantify uncertainty, generate multiple hypotheses and supporting evidence, and score hypotheses based on evidence. In other words, cognitive computing systems provide multiple ranked decisions and answers. These systems can elucidate reasoning underlying their decisions/answers. They are stateful, and understand various nuances of communication with humans. They are self-aware, and continuously learn, adapt, and evolve. -
The Role of the Fusiform Face Area in Social Cognition: Implications for the Pathobiology of Autism Author(S): Robert T
The Role of the Fusiform Face Area in Social Cognition: Implications for the Pathobiology of Autism Author(s): Robert T. Schultz, David J. Grelotti, Ami Klin, Jamie Kleinman, Christiaan Van der Gaag, René Marois and Pawel Skudlarski Source: Philosophical Transactions: Biological Sciences, Vol. 358, No. 1430, Autism: Mind and Brain (Feb. 28, 2003), pp. 415-427 Published by: Royal Society Stable URL: https://www.jstor.org/stable/3558153 Accessed: 25-08-2018 20:53 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/3558153?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Royal Society is collaborating with JSTOR to digitize, preserve and extend access to Philosophical Transactions: Biological Sciences This content downloaded from 129.59.95.115 on Sat, 25 Aug 2018 20:53:49 UTC All use subject to https://about.jstor.org/terms Published online 21 January 2003 THE ROYAL SOCIETY The role of the fusiform face area in social cognition: implications for the pathobiology of autism Robert T. Schultz1,2*, David J. Grelotti , Ami Klin1, Jamie Kleinman3, Christiaan Van der Gaag4, Ren6 Marois5 and Pawel Skudlarski2 1Child Study Center, Yale University School of Medicine, 230 S. -
The Right Hemisphere in Esthetic Perception
ORIGINAL RESEARCH ARTICLE published: 14 October 2011 HUMAN NEUROSCIENCE doi: 10.3389/fnhum.2011.00109 The right hemisphere in esthetic perception Bianca Bromberger, Rebecca Sternschein, Page Widick,William Smith II and Anjan Chatterjee* Department of Neurology, The University of Pennsylvania, Philadelphia, PA, USA Edited by: Little about the neuropsychology of art perception and evaluation is known. Most neuropsy- Idan Segev, The Hebrew University of chological approaches to art have focused on art production and have been anecdotal and Jerusalem, Israel qualitative. The field is in desperate need of quantitative methods if it is to advance. Here, Reviewed by: Juliana Yordanova, Bulgarian Academy we combine a quantitative approach to the assessment of art with modern voxel-lesion- of Sciences, Bulgaria symptom-mapping methods to determine brain–behavior relationships in art perception. Bernd Weber, We hypothesized that perception of different attributes of art are likely to be disrupted by Rheinische-Friedrich-Wilhelms damage to different regions of the brain. Twenty participants with right hemisphere dam- Universität, Germany age were given the Assessment of Art Attributes, which is designed to quantify judgments *Correspondence: Anjan Chatterjee, Department of of descriptive attributes of visual art. Each participant rated 24 paintings on 6 conceptual Neurology, The University of attributes (depictive accuracy, abstractness, emotion, symbolism, realism, and animacy) Pennsylvania, 3 West Gates, 3400 and 6 perceptual attributes (depth, color temperature, color saturation, balance, stroke, and Spryce Street, Philadelphia, PA simplicity) and their interest in and preference for these paintings. Deviation scores were 19104, USA. e-mail: [email protected] obtained for each brain-damaged participant for each attribute based on correlations with group average ratings from 30 age-matched healthy participants.