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Cognition In The Wild

Creativity and Art: Three Roads to Surprise

Michael Wheeler is the latest in a new wave of philosophical theorists that fall within a loose coalition of anti-representationalism (or anti-Cartesianism): Dynamical - Embodied - Extended - Distributed - and Situated - theories of cognition (DEEDS an apt acronym).

Reconstructing the Cognitive World: The Next Step

87. Comparing Ideas: Comparational Analysis and Peirce’s Phenomenology

A psychologist cuts out a lobe of my brain . . . and then, when I find I cannot express myself, he says, ‘You see your faculty of language was localized in that lobe.’ No doubt it was; and so, if he had filched my inkstand, I should not have been able to continue my discussion until I had got another. Yea, the very thoughts would not come to me. So my faculty of discussion is equally localized in my inkstand. It is localization in a sense in which a thing may be in two places at once. (CP 7.366, 1902).

Iconicity in Peircean situated cognitive Semiotics

Our thesis here is that creative artists are cognitive cyborgs 1 and one of their most decisive implants is intersemiotic translation. Intersemiotic translation is a default procedure in creative arts. Artists such as Gertrude Stein, Georges Braque, Wassily Kandinsky, Paul Klee, Sergei Eisenstein, Orson Welles, John Cage, Merce Cunningham, Morton Feldman and Augusto de Campos are among many notable examples of artists in the last century who relied on translation between different semiotic systems to scaffold the creative transformation of artistic conceptual spaces. They are cognitive cyborgs because they have regulated and augmented their creative activity by coupling themselves to various tools and material structures. This is a new approach in the domain of intermediality that brings together premises from Peircean semiotics and distributed cognition. This approach is part of intermedial studies because it is interested in modelling relations between different media and also because it shares, to some extent, a similar tradition of research – semiotics and translation studies. However, within intermedial studies, our approach follows its own set of distinctive premises. First of all, we adhere more strictly to Peirce’s semiotics, which had already offered more than a century ago a systematic model of all logical phenomenological relations of meaning, including the materiality and situatedness of meaning. In doing so we are more conservative than others in the field with regard to terminological innovation, preferring to stick with terms that are already discussed within a semiotic framework, such as intersemiotic translation and intersemiosis, than introducing new terminology, such as the notion of transmediation. Secondly, we associate the description of relations between media more closely to models of joint and distributed cognition 2 than to models of communication. That is, we propose to understand intermedial relations not so much as means for transmitting some meaning or import across context, but rather as means for thinking and acting together. In this paper, we will explore the notion of intersemiotic Intersemiotic Translation as a Creative Thinking Tool

Intersemiotic Translation as a Creative Thinking Tool : From Gertrude Stein to Dance

As a projective augmented intelligence technique, intersemiotic translation works as a predictive tool, anticipating surprising patterns of semiotic events and processes, keeping under control the ...

Pedro Atã

Papers

Intersemiotic Translation as a Creative Thinking Tool : From Gertrude Stein to Dance

Intersemiotic translation as a cognitive artifact – from Webern’s serialism to concrete poetry