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(Staff Photos by Rob Mattson/Amherst College, Office of Public Affairs) Howard Gardner, an Amherst College Trustee and John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education, gives the keynote address "Educating in the Liberal Arts and Sciences: Glancing Backward, Imagining Forward," at Amherst College's Buckley Recital Hall, in Amherst, Mass., Friday afternoon, September 20, 2013. Gardner's keynote address is part of the series of events to celebrate the completion and success of Amherst College's "Lives of Consequence" fundraising campaign. To read more about the campaign and weekend of events, visit www.amherst.edu/campaign.
Panelists from left to right:
Joe Milstone, Cognition LLP
Ganesh Natarajan, President & CEO, Mindcrest Inc.
David Skinner, Gimbal Canada Inc.
Mischa Kowall, Associate Counsel, Katz Group
Contrasting models of human cognition. Brainbound locates all of cognition in the brain. Extended spreads it across brain, body, and the world.
Anderson, Stephen P.; Fast, Karl, 2020. Figure It Out: Getting From Information to Understanding. New York: Rosenfeld Media. rosenfeldmedia.com/books/figure-it-out//
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October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
§ Situated within the south-eastern quadrant of the massive square rampart and wide moat enclosing the ancient capital Yasodharapura, the diagonal alignment of Angkor Vat can be clearly seen from the apex of the city temple Vnam Kantal (Phnom Bakheng) • The alignment is not governed perchance • It asserts submission to Phnom Bakheng as the centroidal autonomy of the ideological realm and the focal landmark of the archetypal metropolis of Khmer empire • The spatial abstraction of the Angkor’s cosmos was unified by the three-dimensional aspects of the topological ‘above and below’ and the geometrical ‘center and corner’ • Angkor Vat did not nominate itself as the city temple, but it was erected to be the holy place of Hindu’s spirit (manas-tirtha), the place for pilgrims to take the ‘bath of Truth’ to emancipate their soul towards liberation from thrall of our limited being •
§ Phanom Bakheng was the cosmic focus of the empire; Angkor Vat was the cosmic locus of the spirit where faith of Hindus had attained their pinnacle of Self-Emancipation in this place • According to the Principle of Reciprocal Cognition, “the universal can be perceived only in the particular, while the particular can be thought only in reference to the universal” • The Khmer architect had thence theorised successfully such reciprocality into an architectural reduction of site (yasodhaman) which is preoccupied by Intellect and power of Time •
my pro account expired, and I am now camera-less. But there are still some photos I haven't shared that I love. This is one. sooc.
The EPIC model of cognition: note how the terminology describes parts of the body in terms of inputs, outputs, and processing information. The model also omits many parts of the body-- legs and feet being the most obvious.
Anderson, Stephen P.; Fast, Karl, 2020. Figure It Out: Getting From Information to Understanding. New York: Rosenfeld Media. rosenfeldmedia.com/books/figure-it-out//
“Many abused children cling to the hope that growing up will bring escape and freedom.
But the personality formed in the environment of coercive control is not well adapted to adult life. The survivor is left with fundamental problems in basic trust, autonomy, and initiative. She approaches the task of early adulthood――establishing independence and intimacy――burdened by major impairments in self-care, in cognition and in memory, in identity, and in the capacity to form stable relationships.
She is still a prisoner of her childhood; attempting to create a new life, she reencounters the trauma.”
Methylphenidate is a common psychostimulant drug used for ADHD, as well as used for cognition enhancement.
October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
(Staff Photos by Rob Mattson/Amherst College, Office of Public Affairs) Howard Gardner, an Amherst College Trustee and John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education, gives the keynote address "Educating in the Liberal Arts and Sciences: Glancing Backward, Imagining Forward," at Amherst College's Buckley Recital Hall, in Amherst, Mass., Friday afternoon, September 20, 2013. Gardner's keynote address is part of the series of events to celebrate the completion and success of Amherst College's "Lives of Consequence" fundraising campaign. To read more about the campaign and weekend of events, visit www.amherst.edu/campaign.
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This is classic Carmack...
Just a blinding blur of mental cognition only slowed down by linguistics and the foolishness of communication.
Communicating one's ideas somehow always softens the focus...
Greg is an amazing speaker, a great thinker, and I can only wonder at what's REALLY in his mind...as what he shares is just awe-inspiring.
The visual pathway has been mapped more comprehensively than almost any other perceptual process. Given vision’s privileged status in forming knowledge (“I see”), science has considerable confidence that we are beginning to “know how we know.” But if we focus on a single aspect of sight – proprioceptive sight, or so-called “blindsight,” or color, or synesthesia, or the plasticity of mind that takes haptic signals and “remaps” them onto the visual cortex – we encounter much more complicated terrain. Artists are tireless empiricists when it comes to visual cognition; this session put them in discussion with scientists, mathematicians, and philosophers to engage new questions about sight, beginning with color.
Moderator: Caroline Jones, Professor of Art History, Theory & Criticism, MIT
Participants:
Tauba Auerbach, Artist
Bevil Conway, Associate Professor of Neuroscience, Wellesley College
Alma Steingart, Junior Fellow of the Harvard Society of Fellows
For more information: artsm.it/1BhPOTh
Photo by L. Barry Hetherington
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October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
ppc agency
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Ben Schneiderman (University of Maryland), Bernardo Huberman (HP Information Dynamics Lab), Amy Bruckman (Georgia Tech), and Cameron Marlow (Facebook).
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(Staff Photos by Rob Mattson/Amherst College, Office of Public Affairs) Howard Gardner, an Amherst College Trustee and John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education, gives the keynote address "Educating in the Liberal Arts and Sciences: Glancing Backward, Imagining Forward," at Amherst College's Buckley Recital Hall, in Amherst, Mass., Friday afternoon, September 20, 2013. Gardner's keynote address is part of the series of events to celebrate the completion and success of Amherst College's "Lives of Consequence" fundraising campaign. To read more about the campaign and weekend of events, visit www.amherst.edu/campaign.
Developed by D. R. De Wet
Year: 1962
The Tilting Chair Test was a perception test used to determine field-dependence or field-independence a concept of cognition where individuals reference their own internal informational sources, or make reference to external informational sources when making decisions.
October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
23 June 2022; Never wait in line again - Jordan Fisher, Standard Cognition on Centre Stage during day three of Collision 2022 at Enercare Centre in Toronto, Canada. Photo by Eóin Noonan/Collision via Sportsfile
(Staff Photos by Rob Mattson/Amherst College, Office of Public Affairs) Howard Gardner, an Amherst College Trustee and John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education, gives the keynote address "Educating in the Liberal Arts and Sciences: Glancing Backward, Imagining Forward," at Amherst College's Buckley Recital Hall, in Amherst, Mass., Friday afternoon, September 20, 2013. Gardner's keynote address is part of the series of events to celebrate the completion and success of Amherst College's "Lives of Consequence" fundraising campaign. To read more about the campaign and weekend of events, visit www.amherst.edu/campaign.
My monument started with the intention of remembering the lives of the neurodivergent people across time -- in the past, the present, and the future. That brought in the symbolic shape (the sine-cosine wavy shape that represents 'seeing' the world differently when the 'light' reflects our eyes) in the first place.
However, the more I worked on the project, the more I felt that the "emphasis" on the shape and the word "neurodivergent or neurodiversity" might separate people into groups. At this point, I struggled to find my stance/ground between all the intertwined relationships and connections between propaganda, politics, arts, communication, education, slogans, instruction, and others -- in terms of "monument" or being monumental.
By definition, neurodiversity is for everyone and 'is' every human and every cognition. By definition, neurodiversity draws on the spectrum of human cognition, including those with clinical diagnosis/labels, such as ADHD, Tourettes, ASD, and dyslexia, and those without clinical labels, celebrating the diversity of human cognition and brains. However, this understanding is not widespread yet in the world. The word 'neurodiversity,' in this contemporary era/time, seems to be used to "help" a group of people -- and when done legally and for paperwork, it is conducive, but in everyday lives, I am not sure. (It is kind of a similar discussion for the label dyslexia -- many people in the neurodiversity communities prefer to use words like 'holistic thinkers' and '3D thinkers' for everyday life (not legal/paperwork) when possible.)
Therefore, after experiencing the sense of unsatisfaction from where I was heading for the first half of the project, I decided to add the idea of 'the foundation of human existence' and 'widening focal points, rather than emphasizing the shape solely.' As a result of contemplation on three main ideas (1. breathing as anchoring, 2. the birth string on one arm, 3. monument in Greece), a vivid image of the performance came out with the essences from all of these three ideas without making things complicated and too much.
I see the performing part as part of, not the whole of, my monumental sculpture.
During the critic, I did not receive feedback from my classmates. I received questions from them. Expressing something about ontology or the foundation of human existence always brings in the sense of abstractness in art -- at least for me. So they asked questions about the meanings of each piece of my performance. The questions were about the 'objects' used in the performance rather than what I did during the performance. At that point, my subconscious or unconscious started to worry that maybe this was an indication that I did not consider who the audience members would be when planning the performance. I saw this performing -- extended -- self of the monument is between performance art and theater art; so, being away from theatrical art which carefully investigates the target audience and its intended impact on the audience, I did not really put my time in who the audience would be and their possible awareness level(?) of neurodiversity and human existence related thoughts.
Materiality and Moment. The in-between of these was what I was experimenting with by extending the life of my sculpture by adding the performing part.
What surprised me was my inner response after the performance. I started to feel awful. I think that my knowledge of that quite a lot of the students at this college does not know what neurodiversity is has been suppressed by my conscious self, but during and/or after the performance, I felt like I was facing this knowledge right in front of me. This brought up all the traumatic memories that I have silenced for my entire life regarding being dyslexic/neurodivergent. At this line of thought chain, I thought, "the word traumatic is so cliche these days." And my stronger/future-oriented self said that, as an artist working between performance art and sculpture, I should be able to channel these feelings in the process of art-making.
For this project, I channeled it during the performance, especially when anchoring in existence (between time-space) by breathing, but I do think that channeling all these "lived experiences" during the art-making processes will 1000000000000999999999222888333377744422% enhance my artworks and the artistic endeavors and processes.
(About two weeks ago, I was questioning "lived experience vs. art," and it is interesting this question and this writing come together just perfectly like this.)
Contextualizing this part in terms of my learning in the course, I think the sculpture-making process, for me, is weaving the threads of 'thinking through making -- embodied cognition' and 're-living experiences, blooming lived experience.' Seeing and touching the symbolic magenta shape (sine-cosine shape) visually has immensely helped me safely, effectively, and creatively arrive at recognizing lived experiences in the world and within myself.
Also, during the critic, Professor Lee shared her feedback that she would have added more visual cues/clues about the symbolic shape (sine-cosine shape) on my clothes or mask. When I first heard that during the critic, it enhanced my thought processes of the audience's eyes and the performance space. What if I came closer to them? What if I instructed them to sit more closely with one another so that the overall angles are not too spread out? What if?
I personally did not want to add more shapes (the symbolic shape), so I kept thinking about the dim lighting, the far distance between myself and the audience, and the audience seat.
Professor did share similar thoughts about one or two weeks ago, such as drawing the shape on the mask. However, I decided not to include that because I did not want to visually force the viewers to see the shape during the transient performance, which is about every human existence, rather than one "archetypal" neurodiverse individual. Also, I would display the sculpture after the performance, which the audience can come closer and see and observe.
For the performance aspect of my monument sculpture, I wanted to convey (in my own way, which people sometimes verbally described as abstract, depending on their viewpoints) the feeling of the very foundational image of existence as well as the feeling of 'being.' In this sense, the ontological justification of self-advocacy is the same for every single person, regardless of having a clinical label or diagnosis or being neurodivergent. Through this window of contemplation, I wanted to show the similar-ness between all existing humans while giving an indirect clue about the performer (neurodivergent individual) having their own way of experiencing its existence through space and time by "growing" the shape biologically and "breathing" the shape every day.