yes indeed=this underlies the embodied cognition arguements- (eg the
limited research that shows that people who take handwritten notes
remember more than those that type)
ernest edmonds and linda candy with the creativity and cognition
arguments have emphasised the important of drawing and skethchin see
for instance
Abstract: In this paper, the authors describe how the design thinking
process can be represented drawing upon on a review of recent studies
of design practice and designer creativity. The representation of
creative design and how the resulting models can be applied to the
design of computer support systems and to design education are
discussed significant research, which has represented design thinking,
was examined. One approach to design thinking is to extract the
features of the designers' strategic knowledge, for which comparative
studies between expert designers and novices are useful. Also,
controlled experimental studies may be adopted in order to understand
the nature of the idea generation process. Candy ª s model of the
technologists' contribution to human creativity is intended to assist
the design of computer supported creativity. Another important
research area is focused on time lines in the design thinking process
and Lawson has described such processes in terms of parallel lines of
thought. From research by Nagai and Noguchi into design thinking as a
transformation process from keywords into images, a thinking-path
model has been proposed. Finally, the methods of research and
representation of design thinking in order to gain a deeper
understanding of the designers' creativity are proposed. The authors
point out the importance of drawing upon different research approaches
from cognitive science to design thinking, as well as knowledge from
neurological science and computational modeling all of which are
required for future research developments in design science
for a contrarian view see simon penny
In Making Sense, Simon Penny proposes that internalist conceptions of
cognition have minimal purchase on embodied cognitive practices. Much
of the cognition involved in arts practices remains invisible under
such a paradigm. Penny argues that the mind-body dualism of Western
humanist philosophy is inadequate for addressing performative
practices. Ideas of cognition as embodied and embedded provide a basis
for the development of new ways ofspeaking about the embodied and
situated intelligences of the arts. Penny argues this perspective is
particularly relevant to media arts practices.
Penny takes a radically interdisciplinary approach, drawing on
philosophy, biology, psychology, cognitive science, neuroscience,
cybernetics, artificial intelligence, critical theory, and other
fields. He argues that computationalist cognitive rhetoric, with its
assumption of mind-body (and software-hardware) dualism, cannot
account for the quintessentially performative qualities of arts
practices. He reviews post-cognitivist paradigms including situated,
distributed, embodied, and enactive, and relates these to discussions
of arts and cultural practices in general.
Penny emphasizes the way real time computing facilitates new
modalities of dynamical, generative and interactive arts practices. He
proposes that conventional aesthetics (of the plastic arts) cannot
address these new forms and argues for a new "performative
aesthetics." Viewing these practices from embodied, enactive, and
situated perspectives allows us to recognize the embodied and
performative qualities of the "intelligences of the arts."
roger
On Fri, Aug 18, 2017 at 5:35 PM, Paul Fishwick <metaphorz@gmail.com> wrote:
> Roger:
> I like your ideas regarding social practice that results in greater collaboration. I've been
> promoting the concept of arts knowledge and practice as being a way to foster better
> STEM education.
> The arts (creative, design, and liberal) rely on a focus on attention (arts appreciation)
> and natural language: in summary, drawing and writing. Through drawing and writing,
> it is possible to learn modeling of knowledge (concept maps, semantic nets, logic),
> modeling of space (geometry, shape) and time (dynamics, systems). My students come
> from both Computer Science and the Arts (ATEC). To educate students on
> modeling, it makes sense to start with intuitive forms of communication—the written
> word and drawing (or taking photographs with the cellphone). Stepping stones are
> inserted to create pathways from artifacts such as a document with writing and drawing
> to complex model structures. It takes many stones, but there are paths.
> -paul
>
> Paul Fishwick, PhD
> Distinguished University Chair of Arts, Technology, and Emerging Communication
> Professor of Computer Science
> Director, Creative Automata Laboratory
> The University of Texas at Dallas
> Arts & Technology
> 800 West Campbell Road, AT10
> Richardson, TX 75080-3021
> Home: utdallas.edu/atec/fishwick
> Blog 1: medium.com/@metaphorz
>
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