How to ... be a reflective practitioner.

Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The outside world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the governing laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Several lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual \"filling in,\" visual stability despite eye movements, change blindness, sensory substitution, and color perception.

A sensorimotor account of vision and visual consciousness-Authors' Response-Acting out our sensory experience

人教版高中英语新课程教材中,语言运用（Using Language）是每个单元必不可少的部分,提供了围绕单元中心话题的听、说、读、写的综合性练习,是单元中心话题的延续和升华.如何设计Using Language部分的教学,使自己的教学模式既不落俗套,又能真正体现新课程标准所倡导的教学理念,正是广大一线英语教师一直努力探索的问题.

打磨Using Language,倡导新理念

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Cognition In The Wild

Gilles Fauconnier & Mark Turner, " The way we think: conceptual blending and the mind's hidden complexities"

In joint action, multiple people coordinate their actions to perform a task together. This often requires precise temporal and spatial coordination. How do co-actors achieve this? How do they coordinate their actions towards a shared task goal? Here we provide an overview of the mental representations involved in joint action, discuss how co-actors share sensorimotor information and what general mechanisms support coordination with others. By deliberately extending the review to aspects such as the cultural context in which a joint action takes place, we pay tribute to the complex and variable nature of this social phenomenon.

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Joint Action: Mental Representations, Shared Information and General Mechanisms for Coordinating with Others.

Drawing on a micro-phenomenological paradigm, we discuss Contact Improvisation (CI), where dancers explore potentials of intercorporeal weight sharing, kinesthesia, touch, and momentum. Our aim is to typologically discuss creativity related skills and the rich spectrum of creative resources CI dancers use. This spectrum begins with relatively idea-driven creation and ends with interactivity-centered, fully emergent creation: (1) Ideation internal to the mind, the focus of traditional creativity research, is either restricted to semi-independent dancing or remains schematic and thus open to dynamic specification under the partner’s influence. (2) Most frequently, CI creativity occurs in tightly coupled behavior and is radically emergent. This means that interpersonal synergies emerge without anybody’s prior design or planned coordination. The creative feat is interpersonally “distributed” over cascades of cross-scaffolding. Our micro-genetic data validate notions from dynamic systems theory such as interpersonal self-organization, although we criticize the theory for failing to explain where precisely this leaves skilled intentionality on the individuals’ part. Our answer is that dancers produce a stream of momentary micro-intentions that say “yes, and”, or “no, but” to short-lived micro-affordances, which allows both individuals to skillfully continue, elaborate, tweak, or redirect the collective movement dynamics. Both dancers can invite emergence as part of their playful exploration, while simultaneously bringing to bear global constraints, such as dance scores, and guide the collective dynamics with a set of specialized skills we shall term emergence management.

https://www.mdpi.com/2076-328X/8/6/52/pdf

Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation.

Recent voices in creativity research emphasize the vital role that processes of active engagement and interaction play. These distributed, interactivity-based, and ecological accounts critique the ...

The Micro-genesis of Improvisational Co-creation

This paper presents strategies that Viennese adolescents use to uphold snap streaks – a gamified challenge on Snapchat inviting users to exchange at least one snap each 24 hours to keep the score. This gamification feature strongly impacts the communication practice of adolescents, both with regard to its temporality and its content. In order to secure the timed reciprocal exchange with their streak partner, adolescents would resort to so called streak snaps – impersonal pictures with reduced content that are sent solely for the purpose of upholding the streak. Three partially overlapping subcategories of streak snaps are outlined: mass snaps, “good morning” or “good night” snaps, and black pictures. Their main characteristics and role in perpetuating the gamified challenge on Snapchat are discussed with regard to reciprocity and metagaming. More specifically, the impact of these metagaming strategies on adolescents’ communication, as well as their relevance for social media design, is discussed in detail.

/pdf/snapchat-streaks-how-adolescents-metagame-gamification-in-cxg96koeia.pdf

Snapchat Streaks: How Adolescents Metagame Gamification in Social Media

We investigate experts’ ability to assess the difficulty of a mental task for a human. The final aim is to find formalized measures of difficulty that could be used in automated assessment of the difficulty of a task. In experiments with tactical chess problems, the experts’ estimations of difficulty are compared to the statistic-based difficulty ratings on the Chess Tempo website. In an eye tracking experiment, the subjects’ solutions to chess problems and the moves that they considered are analyzed. Performance data (time and accuracy) are used as indicators of subjectively perceived difficulty. We also aim to identify the attributes of tactical positions that affect the difficulty of the problem. Understanding the connection between players’ estimation of difficulty and the properties of the search trees of variations considered is essential, but not sufficient, for modeling the difficulty of tactical problems. Our findings include that (a) assessing difficulty is also very difficult for human experts, and (b) algorithms designed to estimate difficulty should interpret the complexity of a game tree in the light of knowledge-based patterns that human players are able to detect in a chess problem. Keywords–Task Difficulty; Assessing Problem Difficulty; Eye Tracking; Problem Solving; Chess Tactical Problems; Chess

/pdf/assessing-the-difficulty-of-chess-tactical-problems-546epdscxz.pdf

Dayana Hristova

Papers

Joint Action: Mental Representations, Shared Information and General Mechanisms for Coordinating with Others.

Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation.

The Micro-genesis of Improvisational Co-creation

Snapchat Streaks: How Adolescents Metagame Gamification in Social Media

Assessing the Difficulty of Chess Tactical Problems