Re-reading Merleau-Ponty through the language of drawing

2021 ◽  
Vol 6 (1) ◽  
pp. 33-48
Author(s):  
Helen Farrell
Keyword(s):  
Visual Art ◽  
Comparative Methods ◽  
Creative Processes ◽  
Late Work ◽  
Work In Progress ◽  
Written Word ◽  
Made In ◽  
Working Processes ◽  
Drawing Practice

In order to present visual art as a paradigm for philosophy, Maurice Merleau-Ponty investigated the creative processes of artists whose work corresponded closely with his philosophical ideas. His essays on art are widely valued for emphasizing process over product, and for challenging the primacy of the written word in all spheres of human expression. While it is clear that he initially favoured painting, in his late work Merleau-Ponty began to develop a much deeper understanding of the complexities of how art is made in parallel with his advancement of a new ontology. In this article I focus on the materiality of Merleau-Ponty’s work in progress through an examination of his unfinished manuscript and working notes in the Bibliothèque national de France (BnF) in Paris. Through a reflection on the potential of these archive documents to reveal new insights into his working processes, I establish a connection to Merleau-Ponty’s own embodied thought mechanisms to uncover comparative methods of enquiry to those used in drawing practice.

Competencias de comunicación oral en la educación primaria

2021 ◽  
Author(s):  
Emma Rodero ◽  
Isabel Rodríguez-de-Dios
Keyword(s):  
Empirical Studies ◽  
Oral Communication ◽  
School Curriculum ◽  
Online Questionnaire ◽  
Written Word ◽  
Educación Primaria ◽  
Oral Skills ◽  
Listening And Speaking ◽  
Current Weight ◽  
Made In

Writing and reading have long been considered to be the two most important skills that pupils must master perfectly. For this reason, written competence has been the protagonist in education, while oral communication via listening and speaking has traditionally remained in the background. However, most criticisms of this prevalence have not been based on empirical studies but on simple verifications that are old and have not been applied to Spain. Given the lack of data and the importance of oral communication nowadays, the aim of this study is to determine the current weight of oral skills in primary education. For this purpose, 433 teachers answered an online questionnaire to determine the importance of each skill, the work dedicated to each, the activities to develop them, and the students’ perceptions. The results indicated that, although most teachers believe that the way in which oral competencies are taught has changed, these skills should have still greater importance. In fact, they consider that the content included in the school curriculum is insufficient. Teachers claim to devote similar percentages of time to writing and speaking, but not so much to listening. In addition, they consider that students experience greater satisfaction when carrying out activities related to oral skills. In conclusion, although the results are positive and some progress is being made in developing oral communication, there is still room for improvement to achieve full equivalence with the written word. Resumen La escritura y la lectura se han concebido durante muchos años como los dos canales superiores de conocimiento que los alumnos deben dominar a la perfección. Por esta razón, la competencia escrita ha sido la protagonista en la educación, mientras la oralidad, la escucha y el habla, han quedado tradicionalmente en un segundo plano. Sin embargo, la mayoría de los autores que denuncian esta prevalencia de lo escrito no se han basado en estudios sino en simples constataciones, ya antiguas, que no se han aplicado a España. Ante la falta de datos y el reconocimiento de la importancia en nuestros días de la comunicación oral, esta investigación surge con el objetivo de determinar el actual peso que tienen las competencias orales en la educación primaria. Para ello, se realizó un cuestionario online a 433 docentes destinado a conocer la importancia de cada competencia, la frecuencia de trabajo de cada una, las actividades para desarrollarlas y la percepción de los alumnos. Los resultados indicaron que, aunque la mayoría del profesorado cree que la forma de enseñar competencias orales ha cambiado, deberían tener una mayor importancia. De hecho, consideran que los contenidos propuestos en el currículo escolar no son suficientes para trabajarlas. Los docentes afirman destinar un porcentaje similar a la escritura y al habla, pero no tanto a la escucha. Además, creen que los estudiantes experimentan una mayor satisfacción cuando realizan actividades relacionadas con la competencia oral. En conclusión, aunque los resultados son positivos y se está avanzando en el desarrollo del código oral, aún queda margen de mejora para lograr la plena equiparación con el escrito.

scholarly journals Some Observations on the Interdigitation of Advances in Medical Science and Mathematics

2013 ◽  
Vol 79 (12) ◽  
pp. 1231-1234 ◽  
Author(s):  
Michael James Glamore ◽  
James L. West ◽  
James Patrick O'leary
Keyword(s):  
Medical Science ◽  
Written Word ◽  
And Mathematics ◽  
Made In

The immense advancement of our understanding of disease processes has not been a uniform progression related to the passage of time. Advances have been made in “lurches” and “catches” since the advent of the written word. There has been a remarkable interdependency between such advances in medicine and advances in mathematics that has proved beneficial to both. This work explores some of these critical relationships and documents how the individuals involved contributed to advances in each.

scholarly journals Expertise and the formation of university museum collections

1970 ◽  
pp. 95
Author(s):  
Terje Brattli ◽  
Morten Steffensen
Keyword(s):  
Empirical Study ◽  
Analytical Approach ◽  
Second Phase ◽  
Museum Collection ◽  
Museum Collections ◽  
Work In Progress ◽  
University Museum ◽  
The University ◽  
Made In

This text is a project presentation of work in progress. The objective is to introduce an alternative analytical approach to university museum collections as a phenomenon. This endeavour has been motivated by our experiences of the dynamic and multiple practices and versions of collections by these museums, rather than of the collections as static and uniform. Based on an approach inspired by ontological politics, we analyse the university museum collection as a result of different enactments rather than as a homogeneous entity that either just is, either passively observed or strategically and/or competitively constructed. These theoretical reflections, in addition to observations made in an initial empirical study of practices at a university museum, indicate the need to acknowledge the coexistence of several parallel versions of the university museum collection as expertise performance. This allows for the understanding of the university museum collection as multiple, and the second phase of this project will consist of analysis of relationships between various simultaneous practices and versions.

scholarly journals Clarity (User Comments/Interactions)

10.34778/5e ◽  
2021 ◽  
Author(s):  
Teresa K. Naab ◽  
Constanze Küchler
Keyword(s):  
Online News ◽  
Online Discussions ◽  
Eine Hohe ◽  
Work In Progress ◽  
User Comments ◽  
Intercoder Agreement ◽  
Level Of Analysis ◽  
Made In ◽  
Discourse Quality

The ‘clarity’ of user comments is an indicator for the quality of statements made in online discussions. User comments below news content on websites or in social media can be examined to determine whether they are clearly written, that is comprehensible to the reader in terms of form, style, and content. Clarity of user comments is essential for the contribution of a comment to a discussion and the exchange between commenters. Field of application/theoretical foundation: As a complement to various further criteria (e.g. coherence, occurrence of arguments), the variable ‘clarity’ of a user comment indicates the comment’s contribution to the deliberative quality of online discussions. Normative approaches to discourse ethics (e.g. Habermas, 1992) assume that contributions to discussions should be phrased understandably to be more valuable for the success of a discussion.  Example studies: Medium Measure Unit of analysis Studies Online; online discussions below news posts Clarity Individual user comment Naab & Küchler (work in progress) Ziegele & Quiring (2015)   Info about variables Variable name/definition: Verständlichkeit eines Nutzerkommentars Operationalization/coding instructions: Es wird kodiert, wie leicht sich Leser*innen der Sinn eines Nutzerkommentars erschließt, wie gut er nachvollziehbar ist. Hierbei zählt der Gesamteindruck. Indikatoren für eine hohe Verständlichkeit sind: Ein verständlicher Sprachstil überwiegend Standardsprache ohne akademische Begriffe bzw. Fremdwörter Vermeidung von Reimen oder literarischen Schreibformen Vermeidung von übertriebenem Cyberslang oder Umgangssprache Keine Verwendung von Fremdsprachen Eine klare, wenig verschachtelte Satzstruktur Keine auffälligen Rechtschreib- und Grammatikfehler Eine eindeutige rhetorische Gestaltung durch den Verzicht auf Ironie, Metaphern und abstrakte Bilder Eine hohe Prägnanz der Aussagen im Sinne der Verbindung von „Bedeutungsreichtum mit einem hohen Maß an Klarheit, Angemessenheit, Anschaulichkeit und Einfachheit“ Verzicht auf das Voraussetzen von speziellem Hintergrundwissen, das beim Durchschnittsleser nicht vorausgesetzt werden kann. Der Kodierer kann sich die Frage stellen: Wie leicht erschließt sich mir der Sinn des Kommentars, wie nachvollziehbar ist er? „Baseline“ ist der Code „0“.  Level of analysis: einzelner Nutzerkommentar Values: 0/ normal verständlich, 1/ schwer verständlich, 2/ überhaupt nicht verständlich, 99/ nicht eindeutig zuzuordnen  Intercoder reliability: The variable showed good performance in tests for intercoder agreement (percentage agreement = 86%; Krippendorf’s alpha = .72) in the study by Ziegele, Breiner, & Quiring (2014).   References Habermas, J. (1992). Faktizität und Geltung: Beiträge zur Diskurstheorie des Rechts und des demokratischen Rechtsstaates. Suhrkamp. Naab, T.K. & Küchler, C. (work in progress). Unveröffentlichtes Codebuch aus dem DFG-Projekt „Gegenseitige Sanktionierung unter NutzerInnen von Kommentarbereichen auf Nachrichtenwebseiten und auf Facebook“. Augsburg. Steenbergen, M. R., Bächtiger, A., Spörndli, M., & Steiner, J. (2003). Measuring political deliberation: A discourse quality index. Comparative European Politics, 1(1), 21–48. doi:10.1057/palgrave.cep.6110002 Ziegele, M., Breiner, T., & Quiring, O. (2014). What creates interactivity in online news discussions? An exploratory analysis of discussion factors in user comments on news items. Journal of Communication, 64(6), 1111–1138. doi:10.1111/jcom.12123 Ziegele, M. & Quiring, O. (2015). Codebuch: Der Diskussionswert von Online-Nachrichten. Unveröffentlichtes Codebuch aus dem DFG-Projekt „Vom Nachrichtenwert zum Diskussionswert“. Mainz.

Out

2021 ◽  
pp. 579-597
Author(s):  
You Nakai
Keyword(s):  
Visual Art ◽  
Small Scale ◽  
Entire Study ◽  
Human Scale ◽  
By Products ◽  
Made In ◽  
Final Work

Tudor’s final work was a series of visual art made in collaboration with Sophia Ogielska. Using his old diagram of Untitled as material, Tudor aimed to make a tablature-like map detailing the actual way he performed the 1972 no-input piece. Ogielska remembers a silent concert Tudor performed using the diagram printed on transparencies and projected in human scale onto the wall of his room. At the end, they ran out of time, and Tudor had already lost his eyesight when the Maps were finally completed. However, Tudor’s insistence on specific colors on the transparencies that would cast colorful shadows, a concern that appears to have been rooted in his synesthesia, resulted in the use of special paint that, as a byproduct, enabled the blinded Tudor to touch the surface of the small-scale prototypes that Ogielska had made with his fingertips and sense the work through auxiliary channels. This fact triggers a reflection, for this entire study, which began through an accidental encounter with Tudor’s materials, has similarly been a product of countless by-products which were neither intended nor entirely fortuitous, but rather influenced from afar through many seeds planted in advance.

Tradition, modernity and the supernatural swing: re-reading ‘primitivism’ in Hugues Panassié's writing on jazz

Popular Music ◽  
2011 ◽  
Vol 30 (1) ◽  
pp. 25-45 ◽  
Author(s):  
Tom Perchard
Keyword(s):  
Cultural Heritage ◽  
Visual Art ◽  
Jazz Music ◽  
Religious Formation ◽  
Early Century ◽  
Over 40 Years ◽  
Made In ◽  
Critical Authority ◽  
European Modernism

AbstractBefore WWII, Hugues Panassié (1912–1974) was Europe's leading critical authority on jazz, and by the time of his death he had published a dozen books on jazz music and been President of the Hot-club de France for over 40 years. Yet despite this life's worth of efforts made in jazz's name, Panassié's reputation is no longer a good one: pointing to the fantasies of black exceptionalism and Noble Savagery present in his work, historians have tended to dismiss the critic as a racist primitivist, one in thrall to that contemporarynegrophiliemost familiar today from early-century Parisian visual art. Indeed Panassié used the term ‘primitive’ himself, and positively. But this article traces the ultra-conservative writer's intellectual and religious formation to show that, rather than contemporarynegrophilie, it was a religious and cultural heritage quite distant from the modern European encounter with blackness that first informed Panassié's primitivism. Although this re-reading does not aim to ‘rehabilitate’ someone who remains a troublesome and reactionary figure, the article nevertheless goes on to explore how, in his primitivist rejection of European modernism, Panassié sometimes pre-empts important arguments made by the postmodern jazz scholarship that would seem to marginalise the critic's historical contributions.

scholarly journals Diachronic change in Indo-European motion event encoding

2014 ◽  
Vol 4 (1) ◽  
pp. 40-83 ◽  
Author(s):  
Annemarie Verkerk
Keyword(s):  
Evolutionary Biology ◽  
Comparative Methods ◽  
Comparative Data ◽  
Historical Change ◽  
Phylogenetic Comparative Methods ◽  
Diachronic Change ◽  
Motion Event ◽  
The World ◽  
Historical Comparative ◽  
Made In

There are many different syntactic constructions that languages can use to encode motion events. In recent decades, great advances have been made in the description and study of these syntactic constructions from languages spoken around the world (Talmy 1985, 1991, Slobin 1996, 2004). However, relatively little attention has been paid to historical change in these systems (exceptions are Vincent 1999, Dufresne, Dupuis & Tremblay 2003, Kopecka 2006 and Peyraube 2006). In this article, diachronic change of motion event encoding systems in Indo-European is investigated using the available historical–comparative data and phylogenetic comparative methods adopted from evolutionary biology. It is argued that Proto-Indo-European was not satellite-framed, as suggested by Talmy (2007) and Acedo Matellán and Mateu (2008), but had a mixed motion event encoding system, as is suggested by the available historical–comparative data.

scholarly journals All the better for being vague? The authority of text

2020 ◽  
Vol 13 (2) ◽  
pp. 259-270 ◽  
Author(s):  
Judith Stewart
Keyword(s):  
George Eliot ◽  
Visual Art ◽  
Collaborative Writing ◽  
Art World ◽  
Authoritative Text ◽  
Written Word

In Middlemarch, George Eliot makes a claim for the superiority of writing over painting: ‘Language is a finer medium’, she has her character claim, because it is ‘[…] all the better for being vague’ (1871: 140). This is a perceived advantage that many artists would find it difficult to agree with as we find the use of text in both academia and in relationship to visual art to be anything but vague. On the contrary, language (and specifically writing) is the means by which hierarchies of power are established and reinforced and it is crucial in defining and conveying the meaning of images. For artists, this poses particular, well-rehearsed problems as we try to find a path between the ‘not-knowing’, the uncertainties of the visual and the authority of the written word. Rather than becoming trapped in the conventions of authoritative text, this article argues for a different way of writing in both academia and in the art world at large: one that reflects the processes of visual practice and thinking. Drawing on current experiments in collaborative writing, it argues for forms of texts that are more akin to speech: texts that forgo the authority of the word in favour of approaches that provide a space where uncertain and imperfectly formed ideas can be expressed and tested.

scholarly journals Einstein's redshift derivations: its history from 1907 to 1921

2018 ◽  
Vol 22 ◽  
pp. 1-16
Author(s):  
Mário Bacelar Valente
Keyword(s):  
General Relativity ◽  
Gravitational Redshift ◽  
Work In Progress ◽  
Interdependent Network ◽  
Conceptual Difficulties ◽  
Made In

Einstein's gravitational redshift derivation in his famous 1916 paper on general relativity seems to be problematic, being mired in what looks like conceptual difficulties or at least contradictions or gaps in his exposition.  Was this derivation a blunder? To answer this question, we will consider Einstein’s redshift derivations from his first one in 1907 to the 1921 derivation made in his Princeton lectures on relativity. This will enable to see the unfolding of an interdependent network of concepts and heuristic derivations in which previous ideas inform and condition later developments. The resulting derivations and views on coordinates and clocks are in fact not without inconsistencies. However, we can see these difficulties as an aspect of an evolving network understood as a “work in progress”.

Inscriptions

2021 ◽  
pp. 380-406
Author(s):  
Ivan Drpić
Keyword(s):  
Art History ◽  
Visual Art ◽  
Visual Representations ◽  
Future Research ◽  
Written Word

This chapter explores the overlap and synergy of visual art and text in Byzantine culture, with focus upon inscriptions, in particular those with literary aspirations. Bringing together insights drawn from the disciplines of epigraphy and art history, the chapter introduces the reader to current approaches to the study of inscribed texts as an integral aspect of Byzantium’s literary and material cultures. Among the topics addressed are the interplay between the linguistic and extra-linguistic dimensions of the written word; the use of inscriptions to mark, enhance, and comment on artifacts and visual representations; and the agency of inscribed objects as vehicles of memory and self-representation. The discussion combines analyses of specific examples across a range of contexts and artistic media with reflections on methodology and proposals for future research.

Sign in / Sign up

Export Citation Format

Share Document