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James A Hampton - One of the best experts on this subject based on the ideXlab platform.

  • implicit and explicit knowledge one Representational Medium or many
    Behavioral and Brain Sciences, 1999
    Co-Authors: James A Hampton
    Abstract:

    In Dienes & Perner’s analysis, implicitly represented knowledge differs from explicitly represented knowledge only in the attribution of properties to specific events and to self-awareness of the knower. This commentary questions whether implicit knowledge should be thought of as being represented in the same conceptual vocabulary; rather, it may involve a quite different form of representation.

Ahmed El Antably - One of the best experts on this subject based on the ideXlab platform.

  • it s hard to be down when you re up interpreting cultural heritage through alternative media
    International Journal of Heritage Studies, 2013
    Co-Authors: Daniel Michon, Ahmed El Antably
    Abstract:

    Heritage places are characteristically imbued with a multiplicity of meanings contingent on the specificities of the society, time and space in which such places are perceived. The interpretation of places also depends on the affordances of the Representational Medium through which these places are perceived and the ways in which such a Medium is socially deployed and interpreted. Using the ancient settlement of Sirkap, located in modern-day Pakistan, as a case study, the present article demonstrates that a change in the Representational Medium entails a change in the interpretation of archaeological records. Most conventional historical accounts of Sirkap use two-dimensional site maps and city plans as the primary media to represent the urban fabric of the ancient settlement. These media lend themselves to interpreting the Block D Apsidal Temple complex as the dominant socio-religious structure in the affluent northern parts of the settlement. When the authors developed an interactive three-dimensional r...

Wolfgang Prinz - One of the best experts on this subject based on the ideXlab platform.

  • the theory of event coding tec a framework for perception and action planning
    Behavioral and Brain Sciences, 2001
    Co-Authors: Bernhard Hommel, Jochen Musseler, Gisa Aschersleben, Wolfgang Prinz
    Abstract:

    Traditional approaches to human information processing tend to deal with perception and action planning in isolation, so that an adequate account of the perception-action interface is still missing. On the perceptual side, the dominant cognitive view largely underestimates, and thus fails to account for, the impact of action-related processes on both the processing of perceptual information and on perceptual learning. On the action side, most approaches conceive of action planning as a mere continuation of stimulus processing, thus failing to account for the goal-directedness of even the simplest reaction in an experimental task. We propose a new framework for a more adequate theoretical treatment of perception and action planning, in which perceptual contents and action plans are coded in a common Representational Medium by feature codes with distal reference. Perceived events (perceptions) and to-be-produced events (actions) are equally represented by integrated, task-tuned networks of feature codes - cognitive structures we call event codes. We give an overview of evidence from a wide variety of empirical domains, such as spatial stimulus-response compatibility, sensorimotor synchronization, and ideomotor action, showing that our main assumptions are well supported by the data.

Moreira Varoni De Castro, Renato - One of the best experts on this subject based on the ideXlab platform.

  • Tecnologías del saber musical en Río de Janeiro en el siglo XIX: el caso de la viola
    2020
    Co-Authors: Moreira Varoni De Castro, Renato
    Abstract:

    This article discusses methodological strategies for dealing with historical sources in (ethno)musicology research. I name this approach “technologies of musical knowledge” and besides a review of the importance of technologies for the development of (ethno)musicology, I support my perspective through visual examples from my own investigation about the violas in nineteenth century Rio de Janeiro. I argue that despite the myriad of sources available, including iconographic representation (drawings and paintings), travelogues, chronicle and fictional literature, musical scores and tutors; their ethnographic information can only emerge out of a process of interpretation that involves a full assessment of the Representational Medium in which the data is presented. In other words, I defend that a thorough analysis and interpretation of musical documents depends on the awareness of the technological enablements and constraints in which the historical representations are inscribed.Este artigo discute estratégias metodológicas para lidar com fontes históricas em pesquisas (etno)musicológicas. Denomino essa abordagem de “tecnologias do saber musical” e, além de uma revisão da importância das tecnologias para o desenvolvimento da área de (etno)musicologia, apoio minha perspectiva através de exemplos iconográficos sobre as violas no Rio de Janeiro do século XIX. Argumento que, apesar da miríade de fontes disponíveis –incluindo a representação iconográfica (desenhos e pinturas), narrativas de viagens, crônicas e literatura ficcional, partituras e métodos do instrumento– a sua informação etnográfica emergirá somente em um processo de interpretação que envolva uma avaliação completa do meio representacional no qual os dados são apresentados. Em outras palavras, defendo que uma análise e interpretação meticulosa dos documentos musicais dependem da consciência das potencialidades e restrições tecnológicas nas quais as representações históricas estão inscritas.Este artículo analiza estrategias metodológicas para abordar fuentes histó-ricas en la investigación (etno)musicológica. Denomino este enfoque como "tecnologías del saber musical" y, junto con una revisión de la importancia de las tecnologías para el desarrollo de la (etno)musicología, apoyo mi perspectiva en ejemplos visuales de mi investigación sobre las violas en el siglo XIX en Río de Janeiro. Sostengo que a pesar de la gran cantidad de fuentes disponibles, que incluyen representaciones iconográficas (dibujos y pinturas), relatos de viajes, literatura de crónicas y ficción, partituras musicales y métodos del instrumento; su información etnográfica solo puede surgir de un proceso de interpretación que implique una evaluación completa del medio de representación en el que se presentan los datos. En otras palabras, defiendo que el análisis y la interpretación exhaustivos de los documentos musicales depende de la conciencia de las potencialidades y limitaciones tecnológicas en las que están inscritas las representaciones históricas

Michael Woolcock - One of the best experts on this subject based on the ideXlab platform.