Category: culture

  • 14JulThe work of the imagination by Paul H. Harris

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    Dr Edith K. Ackermann, professor in developmental psychology and one of the three readers for my PhD general exams -contextual area: psychology- recommended me a book that I am currently reading:

    The Work of the Imagination by Paul H. Harris. The author demonstrates how children’s imagination makes a continuing contribution to their cognitive and emotional development. This book is fundamental in synthesizing the research done on children’s imagination and development.

    Paul L. Harris is Professor of Developmental Psychology, Oxford University, and Fellow in Psychology, St. John’s College, Oxford. He is the author of Children and Emotion, and co-editor of Developing Theories of Mind, Children’s Understanding of Emotion, and Imagining the Impossible: Magical, Scientific and Religious Thinking in Children.

    This entry will be a repository of my notes on the book, as summaries chapter after chapter.

    harris.png

    Intro

    The author reminds us on the human radical evolution 40 000 years ago, during the Upper Paleolitic era. The observation was made that even if we could not analyze the brain modification, we noticed a radical change in what humans did with their hands between the Upper Paleolitic era in contrast with the Neanderthal era. These created artifacts testify a cognitive change, a change in temporal organization and planning. The artifacts resemble children’s props for make believe, helping participants to be transported out of reality into some imagined settings.

    Chapter 1. Bleuler in Weimar

    In 1911, Bleuler distinguishes two modes of thinking: logical or realistic thinking and autistic thinking.

    For Bleuler, autistic thinking is not a pathology confined in a group of children, children who exhibit a withdrawal from other people and the external world (as in Kanner, 1943). For Bleuler autistic thinking is a normal mode of thinking in both children and adults. It is evident in dreams, pretend play and reveries and in the fantasies and delusions of the schizophrenic. It is a mode of thought dominated by free association and wishful thinking. In logical and realistic thinking, affective and emotional considerations are tempered by what is recognized as faisible. Then sometimes autistic thinking override logical thinking in normal adults. In Bleuler, at the difference of Freud, the ability to conceive of alternatives to reality is not a primitive process but something relatively sophisticated. For Bleuler, reality-directed thinking comes first and autistic thinking comes later.

    For Piaget, autistic thinking is suppressed with the development of logic and the child becomes more rational and objective. Children early on speak from their inner world and this is not yet adjusted to the external world, to the need of their listener. Vygotsky tried to analyze and compare Bleuler and Piaget’s theories and explained that a child learns to make a clean separation between speech for communicating and speech for the service of thinking. It does not mean that autistic thinking is egocentric speech referred by Piaget.

    For Piaget, pretend play is an opportunity for the child to secure via fantasy what is not available in reality. “For example he describes how his daughter Jacqueline, having been told that she could not play with the water that was to be used for the washing, took an empty cup, went to the forbidden tub of water, and made pretend movements saying, ‘I’m pouring out water’.” For Piaget, pretend play is a temporary phase of maladaptation.

    The author of the book criticizes Piaget in thinking pretend play is a primary mode of thinking nor will it be supressed in the course of development. 1- Pretend play only appears with the 2nd year of life 2-Great apes only do sporadic pretend play so pretend play is only a function of human childhood 3- Pathology studies show that the absence of early imagination is pathological. One syndrome in early childhood autism is the abscence or impoverishment in pretend play.

    When children are in pretend play, they draw casual understanding of the physical and mental world. Also adults are absorbed in novels and films… Children’s ability to entertain counterfactual alternatives to an actual outcome is critical for making casual and more judgments about that outcome. So Bleuler’s autistic thinking remains a constant companion to reality based thinking.

    Chapter 2. Pretend Play

    Pretend Play allows children to offer a way to imagine, explore and talk about possibilities inherent in reality. Piaget, in Play, Dreams and Imitation (1962) describes how in 2nd year children’s pretend play becomes more elaborate (sustained and complex series of pretended actions) and flexible (less dependent on the support). Even though Piaget acknowledges the developmental process of the child through pretend play, he still sees it as negative and destine to give way eventually to logic and rationality. The author argues that this is especially wrong for joined pretense when two children share and communicate on a common make believe object. In joined pretense, the child gives cues of the shared pretense to the partner. For instance, if a cardboard becomes a tap, the gesture of opening water from the tap creates a shared understanding. These pretend objects also have casual power: they can deliver water! The perspective is situated within the pretense framework.

    Pretend episodes include casual chains with an unfolding structure much like a narrative, all understood by a 2 years old! It is the same cognitive work as we do in a literal mode. Through studies the author found that for two years old, once a prop has been assigned a make believe identity by a play partner, children produce pretend actions towards the prop. He also found that 2 years old understand the casual power associated with a stipulated entity and use that casual knowledge to use out the consequences of a pretend transformation in their imagination.

    The author wanted to know if children will use the objective truth (what is actually there) or the make believe truth in describing a pretend object. In the study, children selected mainly the imaginary outcome, as opposed to objective ones. They used the references used to construct the imaginary world.

    Pretend play can incorporate casual chains. Casual chains in which an initial event enables conditions for a next are understood by 2 years old children. For this children need toenvision the outcome of an initial action, for instance, I turn the tap to get water, because of the water the Teddy bear will get wet, and then I need to dry the Teddy bear with a towel! The author’ study showed that two years old can sustain a casual chain in their imagination and describe its outcome.

    The author proposes that 2 years old understand some of the essential ingredients in drama and fiction. They recognize that events occur in a make believe framework and not in the real world. This is very different than Piaget who states that pretend play is a representation of reality, that what is being signified is reality itself. However the act of pretense is not to signify. It is only inspired by reality. Children are like novelists, they are inspired by actual events and everyday routines, all material for their imagination. Pretend play or make believe is also different than re-enacting a particular action carried earlier. The author claims that children do possess a genuine imagination while Piaget would see it as a subjective assimilation of reality. When a child would pretend being half a dog-half a bird crawling on the floor, Piaget explained that it cannot be seen as part of children’s imagination but a distortion of the real world. On the other end, the authors claims it is truly imaginative as much as novelist are inspired by reality to create fiction. The author concludes that pretend play is the first indication of a lifelong mental capacity to consider alternatives to reality.

    Chapter 3. Role Play

    Children incorporate animated being into their pretend play. The author examines children’s ability to imagine and act out the role of a person or creature. This role playing happens with friends, a key form of interaction between friends. Successful cooperation in this type of play calls for considerable sensibility and flexibility. In all cases of pretend play, the child uses or not a prop and uses or not herself as a prop. In role play, a sub category of pretend play, children temporarily immerse themselves in the part they create. They talk from the point of view of the creature, taking the mood and tone of voice that is appropriate, give expression to the emotions, sensations and needs for the adopted role. When children engage in role play, they do not simply remain off stage, directors or puppeteers, they enter into the make believe situation they create and adopt the point of view of one of the protagonist within it.

    At 2-3 years old, children can invoke a creature, an imaginary person that becomes a companion for the child, this without the need of prop.

    An invisible character, named and referred to in conversation with other persons or played with directly for a period of time, at least several months, having an air of reality for the child, but no apparent objective basis -Svendsen (1934)

    Marjorie Taylor (1998) reports that 2/3 of a sample of American children had either an imaginary companion or one projected onto an external prop before age 7. There is no evidence of difference in personality or behavior between children with imaginary companions and children without. However there is an intriguing difference. Children with imaginary companions proved to be more skilled in assessing how people might feel.

    For instance, at 24 months BT pretended he was a kitten after having visited his grand mother who had a kitten. Until 36 months he was “meowing” and licking milk. At 30 months his best friend was a dog, an additional role of his.

    When a child plays out a particular character, she needs to have a set of meta-theories: theories about the theories that the character holds. Children reproduce routine aspects of human mentation in any character they enact by recruiting their own knowledge base. Studies show however that children do not understand that pretense initially depends on a well informed representation of what is being pretended. With pretend play, children can notice the gap between representation of reality and reality itself, therefore it will facilitate their understanding of mental states. All pretend play involves mental representation so it is helpful for understanding mental states, however only pretend play with animated objects (versus an airplane for instance) correlate with good performance on belief tasks. The absence of mental states at 18 months is associated with a late diagnostic of autism (Baron-Cohen et al, 1996); autistic children perform poorly on false belief tasks compared to normal or retarded children.

    It is then role play rather than pretend play that facilitates mental states understanding and autistic children are especially limited in role play. Children who engage into role playing have a predisposition to better be able to view a situation from another person’s point of view. What happened as children get older? When enacting a role, children imagine the world from the point of view of another person. We do the same when we reada biography, an historical novel. We locate ourselves inside the world of the novel rather than the real world and we share the same spatial and temporal framework than the protagonist.

    Posted by Cati Vaucelle @ Architectradure

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  • 11JulFilm assembly using toy gestures

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    July 2008 Picture This! Project by Cati Vaucelle

    My full paper Picture This! Film assembly using toy gestures has been accepted as a full paper for the technical conference on ubiquitous computing: UbiComp 2008. With an acceptance rate of less than 19% for technical papers in the field, it is very encouraging!

    Abstract

    We present Picture This! a new input device embedded in children’s toys for video composition. It consists of a new form of interaction for children’s capturing of storytelling with physical artifacts. It functions as a video and storytelling performance system in that children craft videos with and about character toys as the system analyzes their gestures and play patterns. Children’s favorite props alternate between characters and cameramen in a film. As they play with the toys to act out a story, they conduct film assembly. We position our work as ubiquitous computing that supports children’s tangible interaction with digital materials. During user testing, we observed children ages 4 to 10 playing with Picture This!. We assess to what extent gesture interaction with objects for video editing allows children to explore visual perspectives in storytelling. A new genre of Gesture Object Interfaces as exemplified by Picture This relies on the analysis of gestures coupled with objects to represent bits.

    Introduction

    We connect to our world using our senses. Every one of our senses is a knowledge shopper that grounds us in our surroundings [1]: with touch, one feels the texture of life, with hearing one perceives even the subtlest murmurs of our existence, with vision one clarifies their instincts. But human senses are not only about perception. We use gesture to apprehend, comprehend and communicate. We speak to ultimately translate and exchange with others. We visualize, record, and playback events using our memory to reflect on our history and to be immersed in experience. We as children and adults are engaged in everyday pretense and symbolic play. We embed and later withdraw from the world, using imagination to project ourselves into situations [35]. Our mental constructs are necessary to reach a deeper understanding of our relationship with our environment [3]. Children are offered stories by adults and are driven into fantasy play. They use toys to externalize and elaborate their mental constructions [8]. With character toys they create interrelationships and plots, a means to expose their social knowledge: knowing about human beings and social relationships [33]. If the toy has an immediately accessible visual perspective, a new world is opened to the child. The toy brings her into exploring visual and narrative perspectives of character props, expanding the discovery of her environment.

    We imagine a world in which people play, create and exchange visual narratives with ease and transparency. Motivated by the playful improvisational environment of child storytelling with toys, we have developed a new category of video editing tools progressing towards the child’s natural expression of play. In Picture This! we combine the activity of play with the video making process. Whereas play emphasizes spontaneity and improvisation, video making necessitates structure and composition. We were inspired by the theater play of Goethe’s childhood [35], investigating what technology could add to the narrative and play experience. We use technology to offer visual feedback regarding how the scene looks like from the point of view of an imaginary audience. The child storyteller enters the world of the movie maker. Cameras become part of a toy system showing how things look from a toy’s point of view. They can be integrated in Lego people, car drivers, and even coffee mugs! The video process, supported by gesture induced editing, benefits children in practicing social interrelationships and visual perspective taking.

    http://www.architectradure.com/wordpress/wp-content/uploads/2008/05/picturethisdiagram1.jpg

    More about the system ->here<-

    Posted by Cati Vaucelle @ Architectradure

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  • 30JunOrganic prosthesis

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    growonyou_2.jpg

    Grow On You by LucyandBart.

    LucyandBart is a collaboration between Lucy McRae and Bart Hess described as an instinctual stalking of fashion, architecture, performance and the body. They share a fascination with genetic manipulation and beauty expression. Unconsciously their work touches upon these themes, however it is not their intention to communicate this. They work in a primitive and limitless way creating future human shapes, blindly discovering low tech prosthetic ways for human enhancement.

    Playing with suggestive photography for high impact, they seem obsessed with the body metamorphosis. I call their work organic prosthesis, because they mainly use organic material in their body extension. For instance, they grow seeds on a fabric, which gives the impression of a body grown of grass and soil. The following pictures show the germination from day one to day eight.

    germination_day_one.jpgGermination

    I love their work with foam. The foam transforms the body in a gentle way. Here the artists embrace the prosthetic impulse …

    Body and foam

    Posted by Cati Vaucelle @ Architectradure

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  • 30JunOrganic prosthesis

    growonyou_2.jpg

    Grow On You by LucyandBart.

    LucyandBart is a collaboration between Lucy McRae and Bart Hess described as an instinctual stalking of fashion, architecture, performance and the body. They share a fascination with genetic manipulation and beauty expression. Unconsciously their work touches upon these themes, however it is not their intention to communicate this. They work in a primitive and limitless way creating future human shapes, blindly discovering low – tech prosthetic ways for human enhancement.

    Playing with suggestive photography for high impact, they seem obsessed with the body metamorphosis. I call their work organic prosthesis, because they mainly use organic material in their body extension. For instance, they grow seeds on a fabric, which gives the impression of a body grown of grass and soil. The following pictures show the germination from day one to day eight.

    germination_day_one.jpgGermination

    I love their work with foam. The foam transforms the body in a gentle way. Here the artists embrace the prosthetic impulse …

    Body and foam

    Posted by Cati Vaucelle @ Architectradure

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  • 19JunA journey for the foreigner

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    All foreigners who have made a choice add to their passion for indifference a fervent extremism that reveals the origin of their exile – Julia Kristeva

    I recently read a book, depressing and fascinating, Strangers to Ourselves, by Julia Kristerva. This book is a journey through the notion of the stranger (the foreigner, outsider or alien in a country and society), and explores the idea of strangeness within the self (a person’s deep sense of being). In this book Julia Kristeva distinguishes the inside from the outside appearance and the conscious idea of self. She explains mostly the point of view of the foreigner, how he feels and perceives others in his welcoming foreign country. She attempts to analyze him and shows how this exile is nurtured by a deep inside exile. I share my notes because I know many foreigners who will resonate with this book.

    Strangers to ourselves

    In the first chapter, “Tocata and Fugue for the Foreigner”, the author explains her attempt to not turn the foreigner into a thing, but rather to “brush it” with no permanent structure. She presents a happy foreigner to the eyes of others, while the foreigner is actually away from his homeland because most probably he has lost his mother. As in Camus, his Stranger reveals himself at the time of his mother’s death: “One has not much noticed that this cold orphan, whose indifference can become criminal, is a fanatic of absence”. The foreigner is a devotee of solitude.

    In the eyes of the foreigner those who are not foreign have no life at all: barely do they exist, haughty or mediocre. In contrast, the space of the foreigner is a moving train! As for confidence, the foreigner has no self. An empty confidence, valueless, which focuses his possibilities of being constantly other: “I do what they want me to, but it is not me. Me is elsewhere, me belongs to no one, me does not belong to me, … does me exist?”. Julia Kristeva concludes that the foreigner is a dreamer making love with absence, one exquisitely depressed. Happy? No one knows better than the foreigner the passion for solitude. “The paradox is that the foreigner wishes to be alone but with partners, and yet none is willing to join him in the torrid space of his uniqueness”.

    The author proposes two categories of foreigner. The one who agonizes between what is no longer and what will never be, the advocate of emptiness, usually the best ironist, and the one who transcends, living neither before nor now but beyond, a believer and sometimes ripens into a skeptic! She explains how meeting balances wandering for the foreigner. The banquet of hospitality is the foreigner’s utopia with the brotherhood of guests who soothe and forget their differences … the banquet is outside of time!

    The author shows how the foreigner constantly feels the hatred of others and how living with the foreigner (with the other) confronts people with the possibility or not of being an other, as in being in his place. Rimbaud’s psychotic ghost Je est un autre (I is an other) is the acknowledgment of this exile: to be foreign and live in a foreign country.
    “Being alienated from myself, as painful as that may be, provides me with that exquisite distance within which perverse pleasure begins, as well as the possibility of my imagining and thinking, the impetus of my culture.” Split identity? Should we recognize that one becomes a foreigner in another country because he is already a foreigner from within?

    How strange is Camus’ Meursault (The Stranger, 1942), so anesthetized, lacking emotions, all passion having been eradicated, and not a scratch to show for it. One could easily take him for a borderline case, or a fasle self, in short for a quasi-psychotic, rather than for a prototype of the foreigner.

    Julia Kristeva brings language into this exile. The foreigner does not speak his mother tongue nor he is filled with resonance from the body’s memory! The resurrection through a new language slowly appears superficial and meaningless. This new language appears like a prosthesis, it is superficial.

    Apparently, nobody listens to the foreigner, because the foreigner is only tolerated. As the author explains: “Those who have never lost the slightest root seem unable to understand any word liable to temper their point of view”. And the foreigner’s friends, aside from bleeding hearts who feel obliged to do good, could only be those who feel foreign to themselves.

    Nowhere does one find better somatization than among foreigners, so much can linguistic and passional expression find itself inhibited

    The realm of the foreigner slowly becomes silence. “It is the silence that empties the mind and fills the brain with despondency, like the gaze of sorrowful women coiled up in some nonexistent eternity.” Instead of approximating words, the foreigner no longer says them. The foreigner has lost his own language in a foreign land …

    Posted by Cati Vaucelle @ Architectradure

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  • 27OctUSB with style

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    Design your own USB blank cassette just like the old mix tapes.

    If you are a little nostalgic of your past, companies are investing solutions. The tech from the past becomes the trend of now. A classic such as these kind-of-cool usb-devices-looking-tapes by Mixa that can be tailored with personal digital stickers, like a day at the beach or your dog with some 80’s hair style.


  • 12MarDocumentary: last in class!

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    Via my research lab, I heard about this ongoing documentary-making on the “last in class!”. The documentary will be a light-hearted look at our culture’s growing obsession with achievement as explored through the profiles of several people who finished at the bottom of their college (and in some cases, also high school) class and the somewhat unexpected, often ironic, lives they have lived since.

    Check out the web site as they are looking for these exceptional low profiles!

    The call:

    1. We already have a number of possible people to profile for the film

    (from a country music star to a serial entrepreneur and beyond) but are

    always interested in hearing from, and about, more. If you know of anyone

    who might fit the bill, please send them our way (info [at] lastinclass [.] com).

    2. As you will see from the website, as part of this project, we are also

    putting together a companion piece of truly memorable report cards and

    report card comments, in particular. If you have any you would like to

    share, please do.

    3. Finally, please pass this email along to your friends and colleagues.

    We know that those who finished last are just as rare as those who finished

    first but we know that they are out there and probably the source of far

    better stories to be told.

    Posted by Cati Vaucelle @ Architectradure

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  • 11MarDIY: A latte art printing machine!

    If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

    I posted on bread laser printing, fruit printing, computer etching, 3d printing your own guitar, printing your clothing (a next step for TUI), and also about the secret-spying marks left by your printer as you print!

    Today, I found this wacky and so cooool tutorial on how to make your own latte art printing machine. Oleskiy Pikalo wanted art work on his latte, so he bought a x-y flatbed plotter (Philips 8155) on eBay and a great book by Matt Gilliland: “Inkjet Applications”!

    Here is the result, see the video!

    He offers a tutorial on how to build something like this, here you go, so you need (I quote him):

    1) An old flatbed plotter (in my case it was Philips 8155) – make sure it has real x-y translation stage. Your best bet is to perform a search on eBay for flatbed plotter. On a good day, you may get a decent fully working plotter for under 100$. I got mine for 175$ with shipping, because I wanted A3 format for later use, and a bunch of pens.

    2) Most old plotters connect through GPIB/Serial interface -mine connected through GPIB interface, so I needed a GPIB card, which I also got on eBay. I got my card for around 30$, because the one I purchased was not a popular kind (LTP1 – GPIB).

    3) Matt Gilliland’s book Inkjet Applications. It looks like Parallax has this fabulous kit on 40% sale for 59.95$

    4) A small 12V relay (my plotter lowers pen by applying 12V to the solenoid). This relay will enable the stream of ink from the inkjet cartridge.

    5 ) Edible ink – preferably brown. You can work with coffee directly instead of ink, but the contrast is not as good as wwith ink. Again, I got mine on eBay.

    Good luck!



    Posted by Cati Vaucelle @ Architectradure

    …………………………………………………………………………………

    Blog Jouons Blog Maison Blog Lesson


  • 11MarDIY: A latte art printing machine!

    If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

    I posted on bread laser printing, fruit printing, computer etching, 3d printing your own guitar, printing your clothing (a next step for TUI), and also about the secret-spying marks left by your printer as you print!

    Today, I found this wacky and so cooool tutorial on how to make your own latte art printing machine. Oleskiy Pikalo wanted art work on his latte, so he bought a x-y flatbed plotter (Philips 8155) on eBay and a great book by Matt Gilliland: “Inkjet Applications”!

    Here is the result, see the video!

    He offers a tutorial on how to build something like this, here you go, so you need (I quote him):

    1) An old flatbed plotter (in my case it was Philips 8155) – make sure it has real x-y translation stage. Your best bet is to perform a search on eBay for flatbed plotter. On a good day, you may get a decent fully working plotter for under 100$. I got mine for 175$ with shipping, because I wanted A3 format for later use, and a bunch of pens.

    2) Most old plotters connect through GPIB/Serial interface -mine connected through GPIB interface, so I needed a GPIB card, which I also got on eBay. I got my card for around 30$, because the one I purchased was not a popular kind (LTP1 – GPIB).

    3) Matt Gilliland’s book Inkjet Applications. It looks like Parallax has this fabulous kit on 40% sale for 59.95$

    4) A small 12V relay (my plotter lowers pen by applying 12V to the solenoid). This relay will enable the stream of ink from the inkjet cartridge.

    5 ) Edible ink – preferably brown. You can work with coffee directly instead of ink, but the contrast is not as good as wwith ink. Again, I got mine on eBay.

    Good luck!

    Posted by Cati Vaucelle @ Architectradure
    …………………………………………………………………………………
    Blog Jouons Blog Maison Blog Lesson