Confucian Conceptions of Human Intelligence

2017 ◽  
Vol 21 (2) ◽  
pp. 161-169 ◽  
Author(s):  
Weiguo Pang ◽  
Amber Esping ◽  
Jonathan A. Plucker
Keyword(s):  
Chinese Culture ◽  
Extensive Study ◽  
Classification Systems ◽  
Human Intelligence ◽  
Problem Solving Skills ◽  
The Arts ◽  
Western Theory ◽  
Self Knowledge ◽  
Very High ◽  
Insight Into

The work of Confucius has been—and continues to be—part of the foundation of Chinese culture. Understanding his work provides insights into many aspects of Chinese societies, ranging from politics to the arts, from economies to education systems. The present article summarizes Confucius’ view of human intelligence, comparing and contrasting it with Western theory and research on related constructs. Confucius’ formulation encompassed qualities such as (a) the ability to identify areas of intelligence in others, (b) self-knowledge, (c) problem-solving skills, (d) verbal fluency, (e) the ability to think actively and flexibly, and (f) the capacity to make healthy personal decisions. Confucius and his followers also developed classification systems for categorizing individuals based on their intelligence. For average people, Confucius held an incremental view of intelligence that relied heavily on extensive study, inquiry, reflection, and transfer. For people with very high or very low intelligence, however, he saw intelligence as being determined by heaven or their inborn nature. A thorough understanding of Confucian conceptions of intelligence provides insight into the present-day study of intelligence within China.

Electron Microscopy in Molecular Biology

1967 ◽  
Vol 25 ◽  
pp. 2-3
Author(s):  
Cecil E. Hall
Keyword(s):  
Electron Microscopy ◽  
Molecular Biology ◽  
Noise Level ◽  
Molecular Structures ◽  
Material Structure ◽  
The Arts ◽  
Shadow Casting ◽  
Electron Image ◽  
High Degree ◽  
Very High

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.

Insight into the formation of a continuous sheath structure for the PS phase in tri-continuous PVDF/PS/HDPE blends

RSC Advances ◽  
2016 ◽  
Vol 6 (1) ◽  
pp. 439-447 ◽  
Author(s):  
Rui Dou ◽  
Shuanglin Li ◽  
Yan Shao ◽  
Bo Yin ◽  
Mingbo Yang
Keyword(s):  
Ternary Blends ◽  
Continuous Structure ◽  
High Level ◽  
Very High ◽  
Insight Into ◽  
Sheath Structure

A hierarchical tri-continuous structure is formed and controlled in PVDF/PS/HDPE ternary blends. A very high level of PS continuity, about 80%, is achieved only with a PS volume composition as low as 11 vol%.

scholarly journals Arak-Arakan Simbol Warak Ngendog Sebagai Media Dakwah

2019 ◽  
Vol 3 (1) ◽  
pp. 55
Author(s):  
Ulfatun Hasanah
Keyword(s):  
Chinese Culture ◽  
Cultural Symbol ◽  
The People ◽  
Moral Teachings ◽  
Very High

Abstrak:Simbol Warak Ngendog merupakan kreativitas budaya Lokal yang menjadi maskot dalam arak-arakan tradisi ritual Dugderan masyarakat Kota Semarang. Warak Ngndog memiliki makna konotasi dan denotasi, yang sangat tinggi nilai-nilai filosofis yang dikandungnya. Warak Ngendog secara simbolik mencerminkan akulturasi budaya Jawa, Arab, dan Cina yang merefleksikan pesan-pesan edukatif ajaran moral Islami serta nilai harmoni kehidupan masyarakat multikultural. Interaksi sistemik ulama, pemerintah, masyarakat, ritual Dugderan, dan maskot Warak Ngendog sebagai simbol budaya berperan secara sinergis sebagai media dakwah. Hasil penelitian ini bahwa Warak Ngendog digunakan sebagai media/alat dalam berdakwah.    Abstract:The symbol of Warak Ngendog is capturing the local cultural creativity that has become the mascot in the Dugderan ritual tradition procession of the people of Semarang City. Warak Ngndog has connotation and denotation meaning, which are very high philosophical values they contain. Warak Ngendog symbolically reflects the acculturation of Javanese, Arabic and Chinese culture that reflects the educative messages of Islamic moral teachings and the harmony of life in multicultural societies. The systemic interaction of ulama, government, society, Dugderan rituals, and the mascot of Warak Ngendog as a cultural symbol play a synergistic role as propaganda media. The results of this study that Ngarakog Warak is used as a medium / tool for da'wah

scholarly journals FORMS OF SYNTHESIS OF ARTS OF CHINESE ARCHITECTURE

2021 ◽  
Vol 4 (164) ◽  
pp. 58-64
Author(s):  
Wu Changzhi
Keyword(s):  
Chinese Culture ◽  
Role Model ◽  
Cultural Development ◽  
Chinese Art ◽  
Exterior Space ◽  
Chinese Architecture ◽  
The Arts ◽  
Art Form ◽  
Full Analysis ◽  
The Impact

The article examines the synthesis of arts on the example of Chinese architecture. General historical questions of the development of Chinese culture and various arts during historical evolution are raising. Philosophical and religious positions of culture are distinguishing, which are identifying with the development of art. The question arises of the lack of a full analysis of ancient Chinese art for all types of artistic creativity that were developing during cultural development and formation: architecture, painting, calligraphy, music, sculpture, dance, and so on. A number of scholars who have developed methods of approaches to the systematization and study of the synthesis of the arts of ancient Chinese culture throughout its development are presenting. A number of techniques in painting and calligraphy that have a direct impact on the formation of the Chinese architectural environment are analyzing. These methodical conclusions can be useful in planning the activities of various organizational departments of architectural education and science. Problem statement: it became necessary to analyze and describe the methods and principles of organizing forms of art synthesis in Chinese architecture. Objective of the article: analyze the impact of forms of art synthesis in Chinese architecture. There is describing that the most important art form in China is painting. It is thanks to its compositional, color and harmonic laws that the general cultural world of ancient China is building. Color relationships, combinations with nature - all this through painting builds the canonical laws of architecture, music, dance, calligraphy, etc., taking into account national authenticity. It becomes the central core of the synthesis of Chinese art, generating its various forms for individual regions. In architecture, the action of forms of synthesis of Chinese arts is embodying through the organization of plasticity of the building, interior and exterior space, the ratio of small and large forms, and the location of accents. Experienced predecessors should be a role model for modern architects and artists. The combination of long-standing traditions of "synthesis of arts" with modern production technologies, as well as creative ideas of architects and artists of the XXI century can give new vectors of development of Chinese architecture and art science.

scholarly journals Affect, Belief, and the Arts

2021 ◽  
Vol 12 ◽  
Author(s):  
Rami Gabriel
Keyword(s):  
Social Practices ◽  
Direct Perception ◽  
Tertiary Level ◽  
Cooperative Groups ◽  
Cognitive Capacities ◽  
Works Of Art ◽  
The Arts ◽  
The Social ◽  
The World ◽  
Self Knowledge

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination.

scholarly journals Dental calculus: Nano-characterization

2012 ◽  
Vol 59 (3) ◽  
pp. 154-159
Author(s):  
Djurica Grga ◽  
Marina Marjanovic ◽  
Igor Hut ◽  
Bojan Dzeletovic ◽  
Djuro Koruga
Keyword(s):  
Magnetic Field Gradient ◽  
Dental Calculus ◽  
Oral Diseases ◽  
Force Microscopy ◽  
Atomic Force ◽  
Light Matter Interaction ◽  
The Magnetic Field ◽  
Very High ◽  
Insight Into

Emerging technologies and new nanoscale information have potential to transform dental practice by improving all aspects of diagnostics and therapy. Nanocharacterization allows understanding of oral diseases at molecular and cellular levels which eventually can increase the success of prevention and treatment. Opto-magnetic spectroscopy (OMS) is a promising new technique based on light-matter interaction which allows insight into the quantum state of matter. Since biomolecules and tissues are usually paramagnetic or diamagnetic materials it is possible to determine the dynamics of para-and diamagnetism at different teeth structures using that method. The topography of the surface of a sample can be obtained with a very high resolution using atomic force microscopy (AFM), which allows observation of minimal changes up to 10 nm, while magnetic force microscopy (MFM) is used to record the magnetic field gradient and its distribution over the surface of a sample. The aim of this study was to determine the possibility of AFM and MFM for the characterization of dental calculus, and a potential application of OMS for the detection of subgingival dental calculus.

The carrot and the stick

2008 ◽  
Vol 9 (2) ◽  
pp. 179-203 ◽  
Author(s):  
Christoph Bartneck ◽  
Juliane Reichenbach ◽  
Julie Carpenter
Keyword(s):  
Error Rate ◽  
Computer Screen ◽  
Human Partner ◽  
Collaborative Game ◽  
Real Robot ◽  
Very High ◽  
Insight Into

This paper presents two studies that investigate how people praise and punish robots in a collaborative game scenario. In a first study, subjects played a game together with humans, computers, and anthropomorphic and zoomorphic robots. The different partners and the game itself were presented on a computer screen. Results showed that praise and punishment were used the same way for computer and human partners. Yet robots, which are essentially computers with a different embodiment, were treated differently. Very machine-like robots were treated just like the computer and the human; robots very high on anthropomorphism / zoomorphism were praised more and punished less. However, barely any of the participants believed that they actually played together with a robot. After this first study, we refined the method and also tested if the presence of a real robot, in comparison to a screen representation, would influence the measurements. The robot, in the form of an AIBO, would either be present in the room or only be represented on the participants’ computer screen (presence). Furthermore, the robot would either make 20% errors or 40% errors (error rate) in the collaborative game. We automatically measured the praising and punishing behavior of the participants towards the robot and also asked the participant to estimate their own behavior. Results show that even the presence of the robot in the room did not convince all participants that they played together with the robot. To gain full insight into this human–robot relationship it might be necessary to directly interact with the robot. The participants unconsciously praised AIBO more than the human partner, but punished it just as much. Robots that adapt to the users’ behavior should therefore pay extra attention to the users’ praises, compared to their punishments.

An Iskandarnāma of Nizami Produced for Ibrahim Sultan

2014 ◽  
Vol 30 (1) ◽  
pp. 235-253 ◽  
Author(s):  
Lâle Uluç
Keyword(s):  
Art History ◽  
Historical Context ◽  
Visual Data ◽  
Military Leader ◽  
Basic Task ◽  
Works Of Art ◽  
The Arts ◽  
Insight Into ◽  
The Way

This paper introduces a copy of the Iskandarnāma of Nizami dated 1435 and dedicated to the Timurid prince Ibrahim Sultan, grandson of the eponymous founder of the Timurid dynasty. It discusses the various features of the manuscript together with comparable examples from the same period, and also focuses on Abu al-Fath Ibrahim Sultan ibn Shah Rukh and his role as both a military leader and a patron of the arts during his tenure as the governor of the provinces of Fars, Kirman, and Luristan (1414–35). Utilizing the visual data together with the historical context of the period, this essay interprets one of the illustrations of the Iskandarnāma, hoping to fulfill what David Summers called “the most basic task of art history,” which he says “is to explain why works of art look the way they look.” The addition of this Iskandarnāma manuscript to the surviving corpus of works that can be connected to Ibrahim Sultan will provide a further insight into the important patronage of this Timurid prince.

scholarly journals Collaborative learning experiences of fourth-year students in a social work module

2021 ◽  
Vol 5 (2) ◽  
pp. 52-68
Author(s):  
Erica Pretorius ◽  
Hanna Nel
Keyword(s):  
Higher Education ◽  
Social Work ◽  
Collaborative Learning ◽  
Real World ◽  
Industrial Revolution ◽  
Learning Task ◽  
Problem Solving Skills ◽  
Innovative Thinking ◽  
Insight Into ◽  
Real World Problems

This article provides insight into a fourth-year social work module, integrating an authentic learning task. This task focused on the development of a funding proposal for a social service organization. It attempted to integrate collaborative learning by scaffolding students’ participation in the world of work, rather than just receiving a qualification. In view of the prevalent conversation around the Fourth Industrial Revolution and the Covid-19 pandemic, it is essential that lecturers at higher education institutions embrace collaborative and problem-solving skills for student tasks. Recent evidence suggests that higher education graduates’ learning and their readiness for work in a professional environment require a greater focus on creative and innovative thinking to solve real-world problems. The results from this qualitative investigation revealed that students found working in teams and collaborating with their peers both challenging and rewarding. This process contributed to the holistic development of social workers ready to work in the real-world.

The Human-Machine: Possibilities for Expression in Robotic Dance

2018 ◽  
Author(s):  
Hannah M. Brown
Keyword(s):  
Performing Arts ◽  
Human Performance ◽  
Installation Art ◽  
Scientific Field ◽  
Point Of View ◽  
Human Beings ◽  
The Arts ◽  
Art Works ◽  
Social Applications ◽  
Insight Into

Robots have been a source of both intrigue and anxiety for artists and a lively apparatus for study by scientific researchers for several decades. Though many people view robots as being cold, unemotional, and frightening, there is a growing field in robotics specifically focused on social applications including therapy, elder care, and the arts. Robots have been utilized extensively in installation art works and sculpture, but the performing arts have been somewhat more resistant to them. Machines which have all the technical abilities to perform tasks, such as playing an instrument or executing choreography without fatiguing or making errors, can be threatening to human performers who have honed these abilities and rely upon them for creative expression and their livelihoods. By synthesizing studies in the scientific field of social robotics, philosophical insight into technology and the arts, and case studies of robots used in dance and other art forms, I seek to provide an alternative point of view of robotic integration into performance. Robots do not need to act only as avatars of human beings, they can be effectively utilized in dance to expand upon the capabilities of the human body, act as automatic ‘puppets’ for choreography, integrate into human performance, and be ‘autonomous’ performers in their own right. Robot dancers do not inherently replace or devalue human artists; instead, they can provide complex insight into the understanding of human bodies, emotions, and technology.

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