Interdisciplinarity is widely promulgated as beneficial to science and society. However, there are three quite serious problems which can limit the success of any interdisciplinary research collaboration. The first problem is expertise (it takes years of effort to cultivate a deep knowledge of even one discipline). The second problem is comprehensibility (experts in different disciplines do not reliably understand each other). The third problem is service (in a given interdisciplinary endeavour, it often occurs that one discipline benefits and the other discipline does not benefit). This essay is an elaboration of these three problems. Parallels are drawn between translation between languages and translation between disciplines.
{"title":"Three Problems of Interdisciplinarity","authors":"Y. Russell","doi":"10.26913/ava202206","DOIUrl":"https://doi.org/10.26913/ava202206","url":null,"abstract":"Interdisciplinarity is widely promulgated as beneficial to science and society. However, there are three quite serious problems which can limit the success of any interdisciplinary research collaboration. The first problem is expertise (it takes years of effort to cultivate a deep knowledge of even one discipline). The second problem is comprehensibility (experts in different disciplines do not reliably understand each other). The third problem is service (in a given interdisciplinary endeavour, it often occurs that one discipline benefits and the other discipline does not benefit). This essay is an elaboration of these three problems. Parallels are drawn between translation between languages and translation between disciplines.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"40 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83012643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the results of a practice-as-research intensive project carried out in August 2019, which in turn applies the doctoral research of scholar-practitioners Jorge Crecis and Lucía Piquero. The project delved into ideas about embodied cognition to support a practice-led theoretical understanding of the experience of emotional import and peak performative states in theatre dance performances. A series of creative sessions were recorded and analyzed, and then presented to an audience at the end of each day. The experience of the audience is also collected through questionnaires and open discussion, to develop a multi-perspectival understanding of the experience of emotion in performance. The main pursuit of the project was to understand and develop tools in relation to the dancers’ awareness of their own sensorimotor patterns, in relation to peak performance and understandings of emotion in performance. The article develops a conceptual framework through the theoretical notions of embodied cognition, enactive perception, and sensorimotor patterns. This allows for analysis based on the experiences of the participants, and for an integration of views which then develops into a discussion of the dancers’ awareness of their sensorimotor patterns.
{"title":"E2M – Embodied Emotion in Motion: Developing Dancers’ Tools to Explore Sensorimotor Patterns for Emotion and Peak Performance","authors":"Lucía Piquero-Alvarez","doi":"10.26913/ava202205","DOIUrl":"https://doi.org/10.26913/ava202205","url":null,"abstract":"This article discusses the results of a practice-as-research intensive project carried out in August 2019, which in turn applies the doctoral research of scholar-practitioners Jorge Crecis and Lucía Piquero. The project delved into ideas about embodied cognition to support a practice-led theoretical understanding of the experience of emotional import and peak performative states in theatre dance performances. A series of creative sessions were recorded and analyzed, and then presented to an audience at the end of each day. The experience of the audience is also collected through questionnaires and open discussion, to develop a multi-perspectival understanding of the experience of emotion in performance. The main pursuit of the project was to understand and develop tools in relation to the dancers’ awareness of their own sensorimotor patterns, in relation to peak performance and understandings of emotion in performance. The article develops a conceptual framework through the theoretical notions of embodied cognition, enactive perception, and sensorimotor patterns. This allows for analysis based on the experiences of the participants, and for an integration of views which then develops into a discussion of the dancers’ awareness of their sensorimotor patterns.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"3 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90240423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Is the mind flat? Chater (2018) has recently argued that it is and that, contrary to traditional psychology and standard folk image, depth of mind is just an illusory confabulation. In this paper, we argue that while there is a kernel of something correct in Chater’s thesis, this does not in itself add up to a critique of mental depth per se. We use Chater’s ideas as a springboard for creating a new understanding of mental depth which builds upon findings in contemporary cognitive science. First, we rely on the predictive processing framework in order to determine a proposed neural contribution to mental depth, specifically in hierarchical predictive knowledge. Second, drawing from an embodied approach to cognition, we argue that mental depth results from the depth of our embodied skills and the situations in which we are embedded. This allows us to introduce to a new realist notion of mental depth, one which can only be explained once we attend to the dense patterns of skillful interaction within a rich artefactual and social environment.
{"title":"Situating Mental Depth","authors":"Robert W. Clowes, Gloria Andrada","doi":"10.26913/ava202203","DOIUrl":"https://doi.org/10.26913/ava202203","url":null,"abstract":"Is the mind flat? Chater (2018) has recently argued that it is and that, contrary to traditional psychology and standard folk image, depth of mind is just an illusory confabulation. In this paper, we argue that while there is a kernel of something correct in Chater’s thesis, this does not in itself add up to a critique of mental depth per se. We use Chater’s ideas as a springboard for creating a new understanding of mental depth which builds upon findings in contemporary cognitive science. First, we rely on the predictive processing framework in order to determine a proposed neural contribution to mental depth, specifically in hierarchical predictive knowledge. Second, drawing from an embodied approach to cognition, we argue that mental depth results from the depth of our embodied skills and the situations in which we are embedded. This allows us to introduce to a new realist notion of mental depth, one which can only be explained once we attend to the dense patterns of skillful interaction within a rich artefactual and social environment.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86999222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The ostensive-inferential model is a model of communication, an alternative to the code model of communication, based on pragmatic competence: it explains human communication in terms of expression and recognition of informative and communicative intentions, founding comprehension on the distinction between literal meaning and the speaker’s meaning. Through informative intentions we try to make evident the content of a message to a receiver, or to make evident what we want to communicate to him/her: communicative intentions are used to make evident the very fact that we intend to communicate. One hypothesis is that ostensive-inferential communication is what makes human language possible. Since an extensive literature has highlighted the role of the Theory of Mind in ostensive-inferential communication, this hypothesis fits with the idea that a mechanism for mentalizing underlies human communication. The aim of the present paper is to stress the role of lower-level mechanisms, specifically of motor simulation, in the recognition of informative and communicative intentions, in order to outline an embodied account of ostensive communication. Specifically, the hypothesis is that this process is involved in language acquisition during development, and that it plays a role in the associative learning process involved in language acquisition during childhood. To this aim, in future research it may be useful to test the involvement of motor simulation (specifically, phono-articulatory and semantic) in the recognition of informative and communicative intentions in toddlers. Since some models of language evolution focus on the role of motor simulation, a supplementary goal is to deepen its role in the biological evolution of language, focusing on the specific link between motor simulation and intentions in the framework of ostensive-inferential model.
{"title":"Motor Simulation and Ostensive-Inferential Communication","authors":"Angelo D. Delliponti","doi":"10.26913/ava202204","DOIUrl":"https://doi.org/10.26913/ava202204","url":null,"abstract":"The ostensive-inferential model is a model of communication, an alternative to the code model of communication, based on pragmatic competence: it explains human communication in terms of expression and recognition of informative and communicative intentions, founding comprehension on the distinction between literal meaning and the speaker’s meaning. Through informative intentions we try to make evident the content of a message to a receiver, or to make evident what we want to communicate to him/her: communicative intentions are used to make evident the very fact that we intend to communicate. One hypothesis is that ostensive-inferential communication is what makes human language possible. Since an extensive literature has highlighted the role of the Theory of Mind in ostensive-inferential communication, this hypothesis fits with the idea that a mechanism for mentalizing underlies human communication. The aim of the present paper is to stress the role of lower-level mechanisms, specifically of motor simulation, in the recognition of informative and communicative intentions, in order to outline an embodied account of ostensive communication. Specifically, the hypothesis is that this process is involved in language acquisition during development, and that it plays a role in the associative learning process involved in language acquisition during childhood. To this aim, in future research it may be useful to test the involvement of motor simulation (specifically, phono-articulatory and semantic) in the recognition of informative and communicative intentions in toddlers. Since some models of language evolution focus on the role of motor simulation, a supplementary goal is to deepen its role in the biological evolution of language, focusing on the specific link between motor simulation and intentions in the framework of ostensive-inferential model.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"46 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82227835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.26913/AVANT.2021.01.01
Monika Favara-Kurkowski
In philosophical aesthetics, discussions on design objects place the notion of Functional Beauty at the fore. Such a philosophical approach can be found in Jane Forsey’s book The Aesthetics of Design that focuses on the notion of function to promote the aesthetic value of design and develops an interpretation of Kantian Dependent Beauty around it. Lucía Jiménez Sánchez has recently put forward several flaws of Functional Beauty accounts. She presented several practical cases as evidence for the narrowness of Functional Beauty accounts. Two cases are presented against Jane Forsey’s theory of Dependent Beauty, holding that it excludes other properties from appreciation that are not necessarily related to functionality, i.e., expressive properties. The purpose of this article is to show that these criticisms leveled at Jane Forsey’s proposal for an aesthetic theory of design are unfounded and are based on a misunderstanding of the structure of judgments of beauty in her system. Despite this, these criticisms highlight the need to clarify the purpose of the aesthetics of design.
在哲学美学中，对设计对象的讨论将功能美的概念放在首位。简·福西(Jane Forsey)的《设计美学》(The Aesthetics of Design)一书中就有这样一种哲学方法，它关注功能的概念，以提升设计的美学价值，并围绕它对康德的依赖美进行了解释。Lucía jimsamnez Sánchez最近提出了功能性美容账户的几个缺陷。她提出了几个实际案例来证明功能性美的说法的狭隘性。简·福西(Jane Forsey)提出了两个反对依赖美的理论的案例，认为它排除了与功能无关的其他属性，即表达性属性。本文的目的是表明，这些针对简·福西提出的设计美学理论的批评是没有根据的，并且是基于对她的系统中美的判断结构的误解。尽管如此，这些批评强调了澄清设计美学目的的必要性。
{"title":"In defense of Forsey’s Aesthetics of Design","authors":"Monika Favara-Kurkowski","doi":"10.26913/AVANT.2021.01.01","DOIUrl":"https://doi.org/10.26913/AVANT.2021.01.01","url":null,"abstract":"In philosophical aesthetics, discussions on design objects place the notion of Functional Beauty at the fore. Such a philosophical approach can be found in Jane Forsey’s book The Aesthetics of Design that focuses on the notion of function to promote the aesthetic value of design and develops an interpretation of Kantian Dependent Beauty around it. Lucía Jiménez Sánchez has recently put forward several flaws of Functional Beauty accounts. She presented several practical cases as evidence for the narrowness of Functional Beauty accounts. Two cases are presented against Jane Forsey’s theory of Dependent Beauty, holding that it excludes other properties from appreciation that are not necessarily related to functionality, i.e., expressive properties. The purpose of this article is to show that these criticisms leveled at Jane Forsey’s proposal for an aesthetic theory of design are unfounded and are based on a misunderstanding of the structure of judgments of beauty in her system. Despite this, these criticisms highlight the need to clarify the purpose of the aesthetics of design.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"59 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90397035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.26913/avant.2021.02.01
Witold Marzęda
The problem of mysterianism can be considered from two perspectives. The first is the attitude to the question of determinability of the mystery or the issue of consciousness that can be called the mysterian dispute. The second issue is the formulation of the problem itself, which can be called the limitation theorem. In the paper the author describes from the second point of view and concludes that problem of mysterianism is based on equivocation. On the one hand, the explanation is sometimes understood as a complete solution to the problem (as when one can present a correct proof of a theorem), on the other, as acceptable and satisfying the conditions of a well-formed theory. There is no one and definite explaining theory – In the sense that the classic ideal of science, which is based on the architectural model of knowledge, gives to the term definitive explanation. At the same time, there are many explanatory concepts, empirical hypotheses, and speculations that explain mental phenomena.
{"title":"Are There Unanswerable Questions? Mysterianism and its General Limitation Theorem in the Philosophy of Mind","authors":"Witold Marzęda","doi":"10.26913/avant.2021.02.01","DOIUrl":"https://doi.org/10.26913/avant.2021.02.01","url":null,"abstract":"The problem of mysterianism can be considered from two perspectives. The first is the attitude to the question of determinability of the mystery or the issue of consciousness that can be called the mysterian dispute. The second issue is the formulation of the problem itself, which can be called the limitation theorem. In the paper the author describes from the second point of view and concludes that problem of mysterianism is based on equivocation. On the one hand, the explanation is sometimes understood as a complete solution to the problem (as when one can present a correct proof of a theorem), on the other, as acceptable and satisfying the conditions of a well-formed theory. There is no one and definite explaining theory – In the sense that the classic ideal of science, which is based on the architectural model of knowledge, gives to the term definitive explanation. At the same time, there are many explanatory concepts, empirical hypotheses, and speculations that explain mental phenomena.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78305478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.26913/AVANT.2021.03.01
Magdalena Szubielska, A. Sztorc
{"title":"Doznania estetyczne Głuchych i słyszących osób dorosłych oglądających interaktywne instalacje w galerii sztuki. Raport z badań pilotażowych","authors":"Magdalena Szubielska, A. Sztorc","doi":"10.26913/AVANT.2021.03.01","DOIUrl":"https://doi.org/10.26913/AVANT.2021.03.01","url":null,"abstract":"","PeriodicalId":43453,"journal":{"name":"Avant","volume":"11 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85530752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.26913/avant.2021.03.09
Tymon Adamczewski, Kazimierz Wielki
This article offers an overview of typographical and experimental strategies employed in contemporary novel writing in the context of author-ing, authority, freedom and experience programming. Nicola Barker’s novel H(a)ppy (2017) is discussed as an example of a rising trend in contemporary literary production characterised by an emphasis on multimodality and materiality of texts where the physicality of writing serves as a significant mode of communication, simultaneously aiming to transcend its medium. My claim is that although visually engaging and fascinating in itself, the typographical experimentation, apart from connoting a degree of liberation for both the writer and the reader, can also be looked at from the point of view of a particular “authoring,” i.e. programming of reader’s reception. This approach is contextualised against the backdrop of the theoretical discussion concerning the notion of author (Roland Barthes, Michel Foucault, Jacques Derrida) as well as aspects of materiality of writing and of subverting authority in postmodern fiction and visions of the reader in multimodal texts. This is followed by a reading of the novel with reference to its themes of control and typographical experimentation. The article also recognises a performative aspect of such type of writing.
{"title":"Authoring the Readerly Experience: On Materiality, Multimodality and Singularity of Literature in Nicola Barker’s ‘H(a)ppy’","authors":"Tymon Adamczewski, Kazimierz Wielki","doi":"10.26913/avant.2021.03.09","DOIUrl":"https://doi.org/10.26913/avant.2021.03.09","url":null,"abstract":"This article offers an overview of typographical and experimental strategies employed in contemporary novel writing in the context of author-ing, authority, freedom and experience programming. Nicola Barker’s novel H(a)ppy (2017) is discussed as an example of a rising trend in contemporary literary production characterised by an emphasis on multimodality and materiality of texts where the physicality of writing serves as a significant mode of communication, simultaneously aiming to transcend its medium. My claim is that although visually engaging and fascinating in itself, the typographical experimentation, apart from connoting a degree of liberation for both the writer and the reader, can also be looked at from the point of view of a particular “authoring,” i.e. programming of reader’s reception. This approach is contextualised against the backdrop of the theoretical discussion concerning the notion of author (Roland Barthes, Michel Foucault, Jacques Derrida) as well as aspects of materiality of writing and of subverting authority in postmodern fiction and visions of the reader in multimodal texts. This is followed by a reading of the novel with reference to its themes of control and typographical experimentation. The article also recognises a performative aspect of such type of writing.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"70 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81599921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.26913/avant.2021.03.13
Aldona Kobus, Dawid Smyk, Paulina Szczepaniak
Autorstwo. Urynkowienie literatury i fantazmat podmiotu autorskiego ( Authorship: Commercializing of Literature and the Phantasm of the Authorial Subject ) by Aldona Kobus, published in 2021 by Nicolaus Copernicus University Press, presents a complex framework for addres-sing various theories on authorship. Starting from outlining the historical background of the development of the notions of authorship and moving to their redefinitions in feminist critique, the book finishes with an appeal to acknowledge the importance of collective authorship and underlines the role of fandom studies. The book offers an overview of the main perspectives on authorship and can be described as a pioneering study on the subject in Polish cultural and literary studies.
Autorstwo。Aldona Kobus于2021年由Nicolaus Copernicus大学出版社出版的Urynkowienie Literature i fantazmat podmiotu autorskiego(作者身份:文学商业化和作者主体的幻觉)提出了一个复杂的框架，用于解决关于作者身份的各种理论。本书首先概述了作者身份概念发展的历史背景，并在女权主义批评中对其进行了重新定义，最后呼吁承认集体作者身份的重要性，并强调了粉丝研究的作用。该书概述了作者的主要观点，可以说是对波兰文化和文学研究主题的开创性研究。
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Pub Date : 2021-01-01DOI: 10.26913/avant.2021.01.09
Annie Ernaux, É. Louis, Rachel Cusk, Robert Kusek
The aim of this paper is to investigate various diegetic gestures of deliberate and insistent selferasure – quite conspicuous in the age of the authors’ glorious “return” and their hyper-visibility – which the essay wishes to identify as testifying to some countertendencies in presentday auto/biographical writing. The return of the author, officially acknowledged in the final decade of the twentieth century, resulted in contemporary writers unanimously and abundantly engaging themselves in narrating their real life stories – the phenomenon which prompted an unprecedented emergence of writers’ auto/biographical narratives at the turn of the twentyfirst century. Nevertheless, in recent years this authorial resurrection has also led to the rise of some new forms of self-writing which might be seen not only as a means of expressing one’s dissatisfaction with the present-day auto/biographical boom but also a manifestation of the crisis of both the auto/biographical self and form. These new self-narratives consciously play with the idea of authorship and question the principles of straightforward representation of the historical author in their literary production. The paper will analyse selected contemporary self-narratives (i.e. Annie Ernaux’s Les Années [2008], Édouard Louis’s En finir avec Eddy Bellegueule [2014], and Rachel Cusk’s “Fay” trilogy, which comprises Outline [2014], Transit [2016], and Kudos [2018]) so as to investigate the authors’ “surrogates” and thus the emergence of a new poetics of self/other-writing.
本文的目的是研究在作者光荣的“回归”和他们的高度可见性的时代，故意和坚持自我的各种叙事姿态，这篇文章希望识别为证明当今汽车/传记写作的一些反趋势。作者的回归在20世纪的最后十年得到了官方的承认，这导致了当代作家们一致地、大量地讲述他们的真实生活故事——这一现象促使了21世纪之交作家们空前的自动/传记叙事的出现。然而，近年来，这种作者的复活也导致了一些新形式的自我写作的兴起，这些自我写作不仅可以被视为表达人们对当今汽车/传记热潮不满的一种手段，而且可以被视为汽车/传记自我和形式危机的一种表现。这些新的自我叙事有意识地玩弄作者的概念，并质疑在其文学作品中直接表现历史作者的原则。本文将分析精选的当代自我叙事(即安妮·埃诺的《Les annacmes》[2008]，Édouard路易斯的《En finir avec Eddy Bellegueule》[2014]，以及雷切尔·库斯克的《费伊》三部曲，其中包括《大纲》[2014]，《过境》[2016]和《Kudos》[2018])，以研究作者的“替代品”，从而研究自我/他者写作的新诗学的出现。
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