50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”E

50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”EThis richly illustrated text is a descriptive introduction to Dominika Macocha’s video-sculptural installation, detailing the idea behind the work, the process of its creation, and its suggested interpretations. The file is concluded with a link to the film The Mystery of Forest Lakelet.50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”EBogato ilustrowany tekst stanowi opis wstępny instalacji wideo-rzeźbiarskiej Dominiki Macochy - pokazuje zamysł tej pracy, proces jej powstawania i proponowane interpretacje. Na końcu zamieszczony jest link do filmu Tajemnica leśnego jeziorka.

50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”E

50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”EThis richly illustrated text is a descriptive introduction to Dominika Macocha’s video-sculptural installation, detailing the idea behind the work, the process of its creation, and its suggested interpretations. The file is concluded with a link to the film The Mystery of Forest Lakelet. 50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”EBogato ilustrowany tekst stanowi opis wstępny instalacji wideo-rzeźbiarskiej Dominiki Macochy - pokazuje zamysł tej pracy, proces jej powstawania i proponowane interpretacje. Na końcu zamieszczony jest link do filmu Tajemnica leśnego jeziorka.

Art, Allegory and the Rise of Shi'ism in Iran, 1487-1565

Some of the world’s most exquisite medieval paintings, from late fifteenth-century Herat and the early Safavid workshops, illustrate well-known episodes of popular romances––like Leyla & Majnun––that give prominence to depictions of unrelated figures such as a milkmaid or a spinner at the scene of the hero Majnun’s death. This interdisciplinary study aims to uncover the significance of this enigmatic, century-long trend from its genesis at the Timurid court to its continued development into the Safavid era. The analysis of iconography in several luxury manuscript paintings within the context of contemporary cultural trends, especially the ubiquitous mystical and messianic movements in the post-Mongol Turco-Persian world, reveals the meaning of many of these obscure figures and scenes and links this extraordinary innovation in the iconography of Persian painting to one of the most significant events in the history of Islam: the takeover of Iran by the Safavids in 1501. The apparently inscrutable figures, which initially appeared in illustrations of didactic Sufi narrative poetry, allude to metaphors and verbal expressions of Sufi discourse going back to the twelfth century. These “emblematic” figure-types served to emphasize the moral lessons of the narrative subject of the illustrated text by deploying familiar tropes from an intertextual Sufi literary discourse conveyed through verses by poets like Rumi, Attar and Jami, and ended up complementing and expressing Safavid political power at its greatest extent: the conversion of Iran to Shiism.

Multi-modal language input: A learned superadditive effect

Review of psychological and language acquisition research into seeing faces while listening, seeing gesture while listening, illustrated text, reading while listening, and same language subtitled video, confirms that bi-modal input has a consistently positive effect on language learning over a variety of input types. This effect is normally discussed using a simple additive model where bi-modal input increases the total amount of data and adds redundancy to duplicated input thus increasing comprehension and then learning. Parallel studies in neuroscience suggest that bi-modal integration is a general effect using common brain areas and following common neural paths. Neuroscience also shows that bi-modal effects are more complex than simple addition, showing early integration of inputs, a learning/developmental effect, and a superadditive effect for integrated bi-modal input. The different bodies of research produce a revised model of bi-modal input as a learned, active system. The implications for language learning are that bi- or multi-modal input can powerfully enhance language learning and that the learning benefits of such input will increase alongside the development of neurological integration of the inputs.

Introduction

The introduction outlines the basic narrative of the book: how the Puritanical logocentrism of some of North America’s first English settlers yielded to the democratic ocularcentrism of today. More than any other city, Boston reveals how this process took place. A culture of spectatorship emerged just as the urban visual environment itself became a spiritually charged illustrated text, drawing the competing gazes of art-admiring intellectuals, literate middle-class Protestants, and increasingly socially independent laborers. While The Hub was far from the only nineteenth-century city to “give not the human senses room enough” (as Ralph Waldo Emerson put it), it was there that a liberated faculty of sight first promised escape from the competition, congestions, and social divisions of urban life.