Cognitive Constraints On Communication
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Cognitive Constraints on Communication
Author: L.M. Vaina
language: en
Publisher: Springer Science & Business Media
Release Date: 2013-03-14
Communication is one of the most challenging human phenomena, and the same is true of its paradigmatic verbal realization as a dialogue. Not only is communication crucial for virtually all interpersonal relations; dialogue is often seen as offering us also a paradigm for important intra-individual processes. The best known example is undoubtedly the idea of concep tualizing thinking as an internal dialogue, "inward dialogue carried on by the mind within itself without spoken sound", as Plato called it in the Sophist. At first, the study of communication seems to be too vaguely defmed to have much promise. It is up to us, so to speak, to decide what to say and how to say it. However, on eloser scrutiny, the process of communication is seen to be subject to various subtle constraints. They are due inter alia to the nature of the parties of the communicative act, and most importantly, to the properties of the language or other method of representation presupposed in that particuIar act of communication. It is therefore not surprising that in the study of communication as a cognitive process the critical issues revolve around the nature of the representations and the nature of the computations that create, maintain and interpret these representations. The term "repre sentation" as used here indicates a particular way of specifying information about a given subject.
Communication
Author: Donald H. Owings
language: en
Publisher: Springer Science & Business Media
Release Date: 2013-11-11
ON THE FUTURE OF PERSPECTIVES When Patrick Bateson and Peter Klopfer offered me the editorship of Perspectives in 1992, the world of academic publishing was in one of its periodic upheavals. Subscriptions to series-even distinguished series such as Perspec tives-had been declining and individual volume prices had been rising, a trend that if continued could only result in the series pricing itself out of the market. In the course of the negotiations around the change of editors, the publishers offered a cost-cutting solution: change the production pattern to "camera ready" and elimi nate the costs of indexing and proofreading. While I could see the sense in this proposal, I was reluctant to accept it. Part of what I had always liked about the volumes in this series was that they were real books, intelligently proofread, nicely laid out, and provided with proper indexes. Thus, I in return offered a "Devil's bargain": the publisher should maintain the present quality of the series for two more volumes and make a renewed effort to advertise the series to our ethological and sociobiological colleagues, while I as the new series editor committed myself to a renewed effort to make Perspectives the publication of choice for writers who are trying to get their message out to the world intact and readers who are seeking clear, coherent, comprehensive and untrammeled presentations of authors' ideas and research programs.
Dance Data, Cognition, and Multimodal Communication
Dance Data, Cognition, and Multimodal Communication is the result of a collaborative and transdisciplinary effort towards a first definition of "dance data", with its complexities and contradictions, in a time where cognitive science is growing in parallel to the need of a renewed awareness of the body’s agency in our manyfold interactions with the world. It is a reflection on the observation of bodily movements in artistic settings, and one that views human social interactions, multimodal communication, and cognitive processes through a different lens—that of the close collaboration between performing artists, designers, and scholars. This collection focuses simultaneously on methods and technologies for creating, documenting, or representing dance data. The editors highlight works focusing on the dancers’ embodied minds, including research using neural, cognitive, behavioural, and linguistic data in the context of dance composition processes. Each chapter deals with dance data from an interdisciplinary perspective, presenting theoretical and methodological discussions emerging from empirical studies, as well as more experimental ones. The book, which includes digital Support Material on the volume's Routledge website, will be of great interest to students and scholars in contemporary dance, neuro-cognitive science, intangible cultural heritage, performing arts, cognitive linguistics, embodiment, design, new media, and creativity studies.