Enactive Representations Research Articles

Enactive or symbolic representation? When the order alters the product

<p>This paper reviews a pedagogic exercise related to the degree of Architecture being taught at the University of Chile. This exercise, which is based on the action of folding paper, integrates knowledge areas from the project learning in initial phases. To illustrate this, in the methodology section, the applied didactic strategy together with its theoretical sustenance are described and then followed by both a review of the activities of the project itself and the learning results. The exercise addresses the multidisciplinary features of our field in Architecture, since it encourages students to directly and intuitively solve physical, structural, geometric, aesthetic and functional issues in an integral manner, appealing and adding to their already acquired ability to do and think in an enactive manner. The outcome of this exercise gets deep into the relationship among a number of aspects which include the type of representation incidence in the projecting operation (iconic, symbolic and enactive representations) and its directions, i.e., from enactive to symbolic representation and vice versa. Furthermore, it also lays out the didactic strategies and teaching contributions of the study case. To conclude, the relevance of this practical approach concerning the relationship between form with these three types of representation is discussed, so students may apply their knowledge and experience acquired during their life in the first stages of their architectural training at university.</p>

Deskripsi Proses Kognitif Siswa SMP dalam Menyelesaikan Masalah Matematika Berdasarkan Modes Of Representation Teori Bruner

There are three steps of cognitive processes, that is: 1) acquire new information, 2) transform information; and 3) test the relevance and accuracy of knowledge or evaluation. This study aims to describe the students the cognitive process of junior high school to solve mathematical problems based on Bruner's three modes of representation. The research is qualitative descriptive. The subjects were three students of junior high school; each of them is with high, medium, and low abilities. The results showed that the cognitive processes of high and medium abilities were able to acquire information and transform it to solve the problems in the enactive, iconic, and symbolic representation. For the testing relevance and accuracy, high-ability subject only works in the enactive representation. Middle-ability does in the enactive and symbolic representation. The low-ability subject was able to do all three cognitive processes on questions the enactive representation, but other questions in the iconic and symbolic representation cannot be solved.

Multimodality and Expressivity in Videogames

This article addresses multimodality and expressivity in digital games, from the perspective of audiovisual communication, discussing essential critical dimensions regarding game literacy and experience. An overview on how we make meaning from audiovisual media is presented, to frame the focus on the multimodal cognitive nature of digital games. After comparing film and digital games, we discuss how and why the latter are rapidly becoming more relevant than television, discussing media learning differences between vicarious and enactive representations, and the creative need for children to access networks so as to interact in multimodal communication environments.

The modes of music information in a compositional process: a case study

PurposeThe purpose of this paper is to demonstrate an actual compositional process that entails a diversity of music information modes and describe the way these modes contribute to the creative aspirations of a composer.Design/methodology/approachThe music information typology proposed by Rousi, Savolainen and Vakkari is used as a point of departure for defining the different modes of music-related information. First, relevant music information modes are identified from the composer-informant’s verbal description of a compositional process. Then, their proportions and dynamics are examined.FindingsThe findings suggest that the music information typology may be applied within the context of musical composition, that is, all of its five modes of music information could be identified from the composer’s verbal description of the compositional process. However, two additional significant information modes were identified: shaping music as the third mode of enactive representations and genuine iconic representations.Research limitations/implicationsThe purpose of this case study is not to claim that the results regarding the significance of individual music information modes apply to all compositional processes within diverse genres of music.Originality/valueThis study introduces a new mode of music information indicative of the artistic capacity of expressiveness: shaping musical structures as the third mode of enactive representations was the means whereby the composer made musical structures work for himself and hence created performative power in his music.

A typology of music information for studies on information seeking

Purpose – A need to renew music-related information notions arises from both information-seeking models and literature of musical semiotics. The purpose of this paper is to create a music information typology, which aims at facilitating the examination of music information types at varying levels of abstraction in the context of information seeking. Design/methodology/approach – Literature of musical semiotics and information seeking are juxtaposed to develop a novel approach to music-related information. The grounding concepts are Bruner’s enactive, iconic and symbolic modes of representation. The modes of representation offer a universal scheme of knowledge that is applied to the domain of music by defining their content through Tarasti’s Theory of Musical Semiotics. Findings – This conceptual paper results in a music information typology ranging from the enactive music information representations to the abstract ones as follows. Music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations. Originality/value – The present paper develops a music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. When applied into empirical research, the typology opens a new window into the perceived roles of music information types in the context of information seeking.

The Effects of Representations, Constructivist Approaches, and Engagement on Middle School Students' Algebraic Procedure and Conceptual Understanding

This study examined the effects of types of representations, constructivist teaching approaches, and student engagement on middle school algebra students' procedural knowledge and conceptual understanding. Data gathered from 16 video lessons and algebra pretest/posttests were used to run three multilevel structural equation models. Symbolic representations (p < .02), shared meanings (p < .05), and meaningful feedback (p < .10) significantly increased procedural and conceptual understanding. Enactive representations significantly increased procedural knowledge (p < .05). There was also a significant relationship between the two types of learning at the within level (p < .01) and between level (p < .05).

Private speech and other forms of self-communication.

Introduction A popular idea in fictional literature and psychological theory is that self-communication can be verbal or nonverbal. A literary example is Proust's Remembrance of Things Past. In the first volume, Swann's Way, Swann's mother gives him a spoonful of tea with crumbs of madeleine in it and this taste stimulus evokes a strong sense of joy, but the stimulus does not lead to any understanding of why joy was the specific emotion aroused. Swann eventually remembers by first shutting out all other sensations and thoughts and, later, taking a break from this concentration; but the remembering takes up three pages of narrative (Proust, 1928, pp. 62-65). The initial self-communication involved a sensory stimulus and an emotional response, and the final self-communication resulted from the processes that psychologists call incubation and insight, but these processes were enabled by the verbal self-instruction to focus attention on remembering the connection between the sensation and the emotion and to shut down this focusing of attention when it was initially unsuccessful. The connection, by the way, was that a favorite aunt gave him a bit of madeleine dipped in tea on Sunday mornings when was a child. Keywords: verbal communication, non verbal communication, incubation, insight. Another literary example is the synesthesia in Arthur Rimbaud's (1871/1966) poem Vowels: A black, E white, I red, U green, 0 blue: vowels, One day I will tell your latent birth: A, black hairy corset of shining flies Which buzz around cruel stench, and so on (p. 121). A final literary example is in Huysmann's (1884/1969) Against the Grain. The protagonist constructs what calls a organ--not the kind twanged to make a low order of music but an analogue of a pipe organ. Each pipe contains a liquor, liqueur, or beer and playing a tasteful melody on the keyboard delivers drops of the potables into small glasses, yielding a combination of flavors to suit his mood. The interesting point here is a nonverbal kind of self-communication in which flavors are analogues of auditory images. Huysmans said: Dry curacao, for instance, was like the clarinet with its shrill, velvety note; kummel like the oboe, whose timbre is sonorous and nasal; creme de menthe and anisette like the flute, at one and the same time sweet and poignant, whining and soft ... kirch, blowing a wild trumpet blast; gin and whisky, deafening the palate with their harsh outbursts of cornets and trombones; liqueur brandy, blaring with the overwhelming crash of the tubas, while the thunder peals of the cymbals and the big drum ... are reproduced in the mouth by the rakis [i.e., arracks], (pp. 44-45) He also had Benedictine as the minor key corresponding to the major key of green Chartreuse, and much more, so that he could execute on his tongue a succession of voiceless melodies (p. 45). Huysmans also remarked about the memory-evoking property of some tastes: His protagonist drank some Irish whisky, which to him had a taste of creosote, which reminded him of carbolic acid, which reminded him of dental work had had. Self-communication can also be nonverbal in some psychological theories. For example, according to Jerome Bruner (1964) thinking in infancy is based primarily on kinesthetic images, or enactive representations, in early childhood visual and auditory images, or iconic representations, and only after early childhood on words, or semantic representations. John B. Watson had a more global view: Thinking is done primarily in words but also involves the whole body (e.g., 1930, chap. 10, 11). According to the Canadian neo-behaviorist Allan Paivio, even in adulthood self-communication is often done with visual images. Most early information-processing theorists agreed, but after the early 1970s almost all of them limited self-communication to verbal representations. …

Complex Calculators in the Classroom: Theoretical and Practical Reflections on Teaching Pre-Calculus.

University and older school students following scientific courses now use complex calculators with graphical, numerical and symbolic capabilities. In this context, the design of lessons for 11 th grade pre-calculus students was a stimulating challenge. In the design of lessons, emphasising the role of mediation of calculators and the development of schemes of use in an 'instrumental genesis' was productive. Techniques, often discarded in teaching with technology, were viewed as a means to connect task to theories. Teaching techniques of use of a complex calculator in relation with 'traditional' techniques was considered to help students to develop instrumental and paper/pencil schemes, rich in mathematical meanings and to give sense to symbolic calculations as well as graphical and numerical approaches. The paper looks at tasks and techniques to help students to develop an appropriate instrumental genesis for algebra and functions, and to prepare for calculus. It then focuses on the potential of the calculator for connecting enactive representations and theoretical calculus. Finally, it looks at strategies to help students to experiment with symbolic concepts in calculus.

Dewey, Dale, and Bruner: Educational Philosophy, Experiential Learning, and Library School Cataloging Instruction

The educational philosophies of John Dewey, Edgar Dale, and Jerome Bruner asserted that experience is essential to the learning process. Dewey emphasized that the quality and the continuity of the experience are critical. Dale advanced these ideas by developing the Cone of Experience, a model that visually demonstrates how concrete experiences give meaning to abstract theories. Bruner's Theory of Instruction explicated how learners move from enactive representations through iconic representations to symbolic representations in the learning process. Experiential learning activities within the curriculum of the School of Library and Information Studies at the University of Hawaii are described. A study examining the students' perceived value of these activities reveals that students believe experience is valuable in achieving the course objectives. Experiential learning, therefore, is viewed as effective and should be included in library school cataloging instruction.

Does immediate imitation influence long-term memory for observed actions?

Long-term memory for object-related information acquired observationally was studied among younger and older toddlers under two conditions of acquisition and retention: direct imitation followed by reproduction after a 10 min delay (delayed imitation), and deferred imitation. A principal aim was to determine whether direct imitation fosters a form of enactive representation that improves long-term memory, or whether such memory is influenced more by visual encoding factors. Tasks consisted of five simple action combinations or separations. Results indicated that post-test scores were higher under all three post-test conditions than under pretest. Likewise, post-test performance was higher than that of a comparison group that did not observe the target actions. The results overall indicate that direct imitation did not operate substantially to improve memory for the modelled acts. Children were able to encode and retain about as much from their visual pickup of the modeled acts as from feedback obtained through the process of imitation. This finding was especially true for the older children.

The structure of visual and kinaesthetic imagery: a free association study.

A free association technique was used to investigate the semantic structure of three forms of encoding: verbal, visual imagery, and kinaesthetic imagery. Kinaesthetic imagery involves imagined bodily identification with the stimuli (animal names) and is included because of its possible involvement in creativity, and in view of the importance of enactive representation in cognitive development. The analysis of evoked associations in terms of the propositional relations they bear to the stimuli, shows that the actor-action-object framework is particularly important in kinaesthetic imagery, and the whole-part structure in visual imagery. Verbal representation gives rise to various abstract and phonemically based association types. The relevance of these findings to creativity and to the concept of semantic memory is discussed.