scholarly journals Analysis of the role of symbolic language in oil painting creation

2017 ◽  
Author(s):  
Cui Xu ◽  
Qiulin Qu
Keyword(s):  
Symbolic Language ◽  
Oil Painting

Evolution of intentional teaching

2021 ◽  
Author(s):  
Peter Gärdenfors ◽  
Anders Högberg
Keyword(s):  
Homo Sapiens ◽  
Symbolic Language ◽  
Human Species ◽  
Evolution Of Language ◽  
Archaeological Evidence ◽  
Different Levels ◽  
Teaching By Demonstration

Only among humans is teaching intentional, socially structured, and symbolically mediated. In this chapter, evidence regarding the evolution of the mindreading and communicative capacities underlying intentional teaching is reviewed. Play, rehearsal, and apprenticeship are discussed as central to the analyses of teaching. We present a series of levels of teaching. First of all, we separate non-intentional from intentional teaching. For non-intentional teaching, we discuss facilitation and approval/disapproval and analyze examples from non-human species. We then distinguish between six levels of intentional teaching: (1) intentional approval/disapproval, (2) drawing attention, (3) demonstrating, (4) communicating concepts, (5) explaining concept relations, and (6) narrating. We hypothesize that level after level has been added during the evolution of teaching. We analyze communicative requirements for the levels, concluding that displaced communication is required for level 4 and symbolic language only for levels 5 to 6. We focus on the role of demonstration and pantomime and argue that pantomime has been instrumental in the evolution of language. We present archaeological evidence for when the different levels of teaching emerge. We argue that learning Oldowan technology requires teaching by demonstration, and that learning Acheulean hand-axe technology requires communicating concepts. It follows that several levels of intentional teaching predate homo sapiens.

The Psalms and Personal Counseling

1974 ◽  
Vol 2 (1) ◽  
pp. 26-30 ◽  
Author(s):  
Stephen G. Meyer
Keyword(s):  
Group Therapy ◽  
Human Being ◽  
Symbolic Language ◽  
Therapeutic Role ◽  
Personal Counseling ◽  
Potential Impact

The therapeutic role of the symbolic language in the Psalms is discussed. First, the symbolic language of the psalm allows for the expression of difficulties and emotions not expressible through normal prosaic language. Second, the depth of expression may allow the troubled person to identify with another human being in comparable difficulty and thus find hope through the other's experience. Third, the symbolic language of the psalm may restructure the symbols by which a person lives his life and thus lead to a new manner of living. With the analysis of the language completed, the technique is applied to three psalms by tracing their potential impact on the reader's mind. Finally, suggestions are made for use of the Psalms in individual or group therapy.

scholarly journals Mutual bootstrapping between language and analogical processing

2010 ◽  
Vol 2 (2) ◽  
pp. 261-283 ◽  
Author(s):  
Dedre Gentner ◽  
Stella Christie
Keyword(s):  
Cognitive Development ◽  
Structural Alignment ◽  
Great Apes ◽  
The Other ◽  
Spatial Language ◽  
Human Cognition ◽  
Symbolic Language ◽  
Structure Mapping ◽  
Symbolic Systems

AbstractWhat makes us so smart as a species, and what makes children such rapid learners? We argue that the answer to both questions lies in a mutual bootstrapping system comprised of (1) our exceptional capacity for relational cognition and (2) symbolic systems that augment this capacity. The ability to carry out structure-mapping processes of alignment and inference is inherent in human cognition. It is arguably the key inherent difference between humans and other great apes. But an equally important difference is that humans possess a symbolic language.The acquisition of language influences cognitive development in many ways. We focus here on the role of language in a mutually facilitating partnership with relational representation and reasoning. We suggest a positive feedback relation in which structural alignment processes support the acquisition of language, and in turn, language—especially relational language—supports structural alignment and reasoning.We review three kinds of evidence (a) evidence that analogical processes support children's learning in a variety of domains; (b) more specifically, evidence that analogical processing fosters the acquisition of language, especially relational language; and (c) in the other direction, evidence that acquiring language fosters children's ability to process analogies, focusing on spatial language and spatial analogies. We conclude with an analysis of the acquisition of cardinality—which we offer as a canonical case of how the combination of language and analogical processing fosters cognitive development.

Musicality as material culture

2018 ◽  
Vol 26 (5) ◽  
pp. 257-267 ◽  
Author(s):  
Sergio F Martínez ◽  
Alejandro Villanueva
Keyword(s):  
Social Cognition ◽  
Material Culture ◽  
Social Understanding ◽  
Symbolic Language ◽  
Human Beings ◽  
Satisfactory Explanation ◽  
Cultural Expression ◽  
Social Coordination ◽  
The World

From an enactive perspective, one should be able to explain how perception and actions, constituted in patterns of interactions with the world, evolve into the capacities for social coordination and social understanding distinctive of human beings. Traditional accounts of our social understanding skills, focusing on the role of intentionality as the “aboutness” associated with the use of symbolic language, make this sort of explanation difficult to articulate. A satisfactory explanation should start with the recognition that intentionality is not a monolithic phenomenon and that more basic kinds of intentionality embodied in material culture have played a crucial role in allowing for the complexity of human social cognition. We argue for the importance of kinds of bottom-up intentionality, which arise from the world as it is experienced, dynamically structuring and directing our cognitive capacities toward possibilities of (joint) action. Musicality (our capacity for being musical) is a particularly rich kind of cultural expression, in which intentionality embodied in material culture can be studied and its significance for the structure of our deeply social cognition can be explored.

scholarly journals The role of the notion of a proper answer in the logic of questions

2021 ◽  
Vol 27 (1) ◽  
pp. 319-340
Author(s):  
Adam Jonkisz
Keyword(s):  
Symbolic Language ◽  
Logic Of Questions ◽  
Full Account ◽  
Inferential Erotetic Logic ◽  
Questions And Answers ◽  
Pertinent Question ◽  
Definition Of ◽  
Almost All ◽  
Strict Definition

The observations in the article mainly concern the role of the concept of the so-called right answer in question logic. The purpose of these remarks is to justify the postulate that any logic of questions should be based on a conception of the structure of questions and answers, in which the notion of a proper answer is strictly defined. This postulate is addressed to any question logic, although it is mainly supported and illustrated by analyses and comparative remarks referring to concepts based on Ajdukiewicz’s question theory and to recent approaches of inferential erotetic logic (IEL). The analyses confirm that the concept of proper answer is fundamental in question theories, as it is assumed in the definitions of almost all concepts relating to questions and answers. In Ajdukiewicz’s concept, it is used explicitly, for example, in the definitions of the conditions of proper questioning and of complete and exhaustive answers. In IEL, it appears explicitly in the definitions of: the pertinent question, the notion of the presupposition of a question (and its variations), the relations of evoking a question (by a set of indicative sentences) and implying a question (by another question), etc. This basic concept should therefore be well defined. This postulate applies especially to such theories of questions in which assertions about questions and answers are proved in symbolic language – as is the case in IEL, which, however, lacks a strict definition of the concept of proper answer (there are only vague, pragmatic terms formulated in natural language). There is, however, a definition that is closer to the idea of the proper answer, adopted by Ajdukiewicz as well as in the concepts related to it, that a proper answer is one the structure of which is determined by the scheme of the question structure. However, this definition should be complemented by an accurate and general conception of question structure, which is lacking in the existing concepts. In order to confirm the validity of the formulated postulate, the article proposes new results achieved in the theory of questions, in which Ajdukiewicz’s ideas are developed and supplemented by a full account of the structure of questions and well-defined, i.e. formulated in a general and strict way as is the idea of proper answer.

scholarly journals Ways to Cultivate Students’ Innovative Thinking in the Teaching of Oil Painting in Colleges

2021 ◽  
Vol 5 (10) ◽  
pp. 47-52
Author(s):  
Yenan Gao
Keyword(s):  
Rapid Development ◽  
College Education ◽  
Colleges And Universities ◽  
Social Culture ◽  
Oil Painting ◽  
New Era ◽  
Thinking Ability ◽  
Innovative Thinking ◽  
Foreign Exchanges

With the rapid development of information technology, oil painting, as an important part of art culture, plays an important role in foreign exchanges and the promotion of multicultural development. College education bears the responsibility of providing a steady stream of high-quality talents for the development of social culture and art in addition to bringing new vitality for the dissemination and development of art and cultural theories. Giving full play to the role of oil painting teaching in colleges to cultivate oil painting talents has become one of the top priorities. Therefore, colleges and universities should continue to promote the development and reform of oil painting teaching as well as better improve the overall quality and oil painting skills among college students. In the new era, innovative thinking is an indispensable core quality in students’ learning and life. In contemporary oil painting teaching in colleges and universities, it is very important to cultivate students’ innovative thinking ability. This article begins by discussing the development of oil painting in China and the characteristics of students’ innovative thinking, analyzes the importance of cultivating students’ innovative thinking, as well as explores effective ways to cultivate their innovative thinking in regard to oil painting.

scholarly journals Absolute Zero – Revealing the Void

IDEA JOURNAL ◽  
1969 ◽  
pp. 97-106
Author(s):  
Darragh O'Brien
Keyword(s):  
Design Process ◽  
Zero Point ◽  
Symbolic Language ◽  
Interior Space ◽  
Architectural Form ◽  
Positive Elements ◽  
Tangible Object ◽  
The Subject ◽  
Daniel Libeskind

Which comes first, the walls or the space? The discussion in this paper explores the significance of the void in the development of innovative architectural space. It challenges the traditional perception that only ‘positive’ elements, such as walls, generate meaningful form; the void being diminished in the role of resultant ‘negative’ space. If our design process concentrates on the object as the generator of interior space, then, as is proposed in the paper, our ability to develop and communicate our ideas is limited by the inherent meaning of that object. If, however, we come to accept the symbolic language of materiality, then, as interior architects, we will invert this process and explore the subject meaning of our ideas before defining their form. This proposal is illustrated with reference to Daniel Libeskind, Coop Himmmelb[l]au, Michaelangelo, the vanishing point, the blank page, and the absent North Pole. Oppositional relationships are noted as existing within the symbiotic framework of the void; a place where we strip away preconceived meaning in order to find the zero- point of our ideas. In so doing, the negative is inverted and the void becomes a meaningful generator of architectural form, in a design process that enables us to define our intentions beyond the inherent influence of the tangible object.

Varma, Raja Ravi (1848–1906)

2018 ◽  
Author(s):  
John Xaviers
Keyword(s):  
19Th Century ◽  
Color Theory ◽  
Art Making ◽  
Oil Painting ◽  
Ancient India ◽  
Western Art ◽  
The 19Th Century ◽  
The Way ◽  
Indian Art

Raja Ravi Varma transformed the way Indian gods and goddesses were pictured, and he did so with oil painting—a new import in 19th-century India. By the last quarter of the 19th century, when Western art had long rejected Salon art and a modernist explosion in painterly surface was imminent, the auto-didact Raja Ravi Varma started to paint in an academic realistic style. His interaction with Western oil painting can be regarded as the advent of modernism in Indian art. It may sound paradoxical to consider the adoption of Western academic realism as modernist but in this instance, Varma’s modernism was a break from various folk or classical Indian painterly traditions. The role of the aristocratic gentleman artist, which Ravi Varma performed, differed from traditional artisans in that it entailed a scientific temperament in art-making, with awareness of anatomy, geometry (perspective), and color theory. Many scholars have claimed that Raja Ravi Varma forged a "visual unity" in India through his calendar art—chromolithographs created with imported German technology—which circulated throughout India. His work visually unified the Hindu pantheon, which had until then been as iconographically diverse as the number of dynasties that had ruled across ancient India.

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