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La capacidad de responder al exterior: notación multi-modo transitoria en la enseñanza de arte secundaria y terciaria
Get PDFIn this paper the author calls for a recognition of creativity as a response to
the outside, to the ‘charge’ of an incipient object that generates what the author terms
‘transitional multi-mode notation’, that itself constitutes an ‘irreducible outside’. Of the
three meta -modes of transitional practices (Pigrum, 2009) the primary focus of the
present paper is the meta-mode of the sign and where the response to the exteriority of
inscription on a material surface is related to what Winnicott (1972) termed ‘potential
space, a space where inner and outer reality encounter one another in a passage of provisional
states or transitions. The paper argues that Winnicott’s object -relations theory
is more applicable to teaching and learning creative capacities than Clarke’s emphasis
on the Lacanian void (Clarke, 2016). In addition to Winnicott’s psychoanalytic theory,
the capacity to respond to the outside by means of transitional notation is related to
Heidegger’s notion of Entwurf, Derrida on ‘erasure’ and the distinction Kristeva makes
between the symbolic and the semiotic. The author argues that the way we respond to
the outside, the conceptual uncertainty of the ‘charge’ of the object, the indeterminacy
of transitional notion and its inherent cognitive insecurity, render creative capacities
incompatible with the rationality of discourse advocated by Filimowicz and Tzankova
(2014) in their implementation of the author’s theory of transitional practices. Teaching and learning the creative capacity of responding to the outside by means of the exteriority
set up by transitional notation is one of deictic orientations. The most difficult
capacity to acquire in the educational context is Lyotard’s notion that desire can only
be fulfilled if the ‘space of oscillations’ between inside and outside is kept open that in
transitional notation is furthered by multi-mode sign use on dispensable surfaces of
inscription.En este artículo, el autor pide un reconocimiento de la creatividad como
una respuesta al exterior, a la “carga” de un objeto incipiente que genera lo que el autor
denomina “notación multimodo de transición”, que constituye en sí misma un “exterior
irreductible”. De los tres meta-modos de prácticas de transición (Pigrum, 2009), el foco
principal del presente trabajo es el meta-modo del signo y donde la respuesta a la exterioridad
de la inscripción en una superficie material está relacionada con lo que Winnicott
(1972) ha llamado espacio potencial, un espacio donde la realidad interna y la externa se
encuentran en un pasaje de estados o transiciones provisionales. El artículo argumenta
que la teoría de las relaciones de objeto de Winnicott es más aplicable a la enseñanza y al
aprendizaje de capacidades creativas que el énfasis de Clarke en el vacío lacaniano (Clarke,
2016). Además de la teoría psicoanalítica de Winnicott, la capacidad de responder al
exterior por medio de la notación transitoria está relacionada con la noción de Entwurf
de Heidegger, Derrida sobre el “borrado” y la distinción que hace Kristeva entre lo simbólico
y lo semiótico. El autor sostiene que la forma en que respondemos al exterior,
la incertidumbre conceptual de la “carga” del objeto, la indeterminación de la noción
transitoria y su inherente inseguridad cognitiva, hacen que las capacidades creativas sean
incompatibles con la racionalidad del discurso defendida por Filimowicz y Tzankova
(2014) en su aplicación de la teoría del autor sobre prácticas transicionales. Enseñar
y aprender la capacidad creativa de responder al exterior por medio de la exterioridad
establecida por la notación transitoria es una de las orientaciones deícticas. La capacidad
más difícil de adquirir en el contexto educativo es la noción de Lyotard de que el deseo
sólo puede cumplirse si se mantiene abierto el “espacio de oscilaciones” entre el interior y
el exterior que en la notación transitoria se avanza mediante el uso del signo multimodal
en superficies prescindibles de inscripción
LA CAPACIDAD DE RESPONDER AL EXTERIOR: NOTACIÓN MULTI-MODO TRANSITORIA EN LA ENSEÑANZA DE ARTE SECUNDARIA Y TERCIARIA
Get PDFIn this paper the author calls for a recognition of creativity as a response to the outside, to the ‘charge’ of an incipient object that generates what the author terms ‘transitional multi-mode notation’, that itself constitutes an ‘irreducible outside’. Of the three meta -modes of transitional practices (Pigrum, 2009) the primary focus of the present paper is the meta-mode of the sign and where the response to the exteriority of inscription on a material surface is related to what Winnicott (1972) termed ‘potential space, a space where inner and outer reality encounter one another in a passage of provisional states or transitions. The paper argues that Winnicott’s object -relations theory is more applicable to teaching and learning creative capacities than Clarke’s emphasis on the Lacanian void (Clarke, 2016). In addition to Winnicott’s psychoanalytic theory, the capacity to respond to the outside by means of transitional notation is related to Heidegger’s notion of Entwurf, Derrida on ‘erasure’ and the distinction Kristeva makes between the symbolic and the semiotic. The author argues that the way we respond to the outside, the conceptual uncertainty of the ‘charge’ of the object, the indeterminacy of transitional notion and its inherent cognitive insecurity, render creative capacities incompatible with the rationality of discourse advocated by Filimowicz and Tzankova (2014) in their implementation of the author’s theory of transitional practices. Teachingand learning the creative capacity of responding to the outside by means of the exteriority set up by transitional notation is one of deictic orientations. The most difficult capacity to acquire in the educational context is Lyotard’s notion that desire can only be fulfilled if the ‘space of oscillations’ between inside and outside is kept open that in transitional notation is furthered by multi-mode sign use on dispensable surfaces of inscription.
Keywords: creativity, transitional multi-mode notation, teaching and learning.En este artículo, el autor pide un reconocimiento de la creatividad como una respuesta al exterior, a la “carga” de un objeto incipiente que genera lo que el autor denomina “notación multimodo de transición”, que constituye en sí misma un “exterior irreductible”. De los tres meta-modos de prácticas de transición (Pigrum, 2009), el foco principal del presente trabajo es el meta-modo del signo y donde la respuesta a la exterioridad de la inscripción en una superficie material está relacionada con lo que Winnicott (1972) ha llamado espacio potencial, un espacio donde la realidad interna y la externa se encuentran en un pasaje de estados o transiciones provisionales. El artículo argumenta que la teoría de las relaciones de objeto de Winnicott es más aplicable a la enseñanza y al aprendizaje de capacidades creativas que el énfasis de Clarke en el vacío lacaniano (Clarke, 2016). Además de la teoría psicoanalítica de Winnicott, la capacidad de responder al exterior por medio de la notación transitoria está relacionada con la noción de Entwurf de Heidegger, Derrida sobre el “borrado” y la distinción que hace Kristeva entre lo simbólico y lo semiótico. El autor sostiene que la forma en que respondemos al exterior, la incertidumbre conceptual de la “carga” del objeto, la indeterminación de la noción transitoria y su inherente inseguridad cognitiva, hacen que las capacidades creativas sean incompatibles con la racionalidad del discurso defendida por Filimowicz y Tzankova (2014) en su aplicación de la teoría del autor sobre prácticas transicionales. Enseñar y aprender la capacidad creativa de responder al exterior por medio de la exterioridad establecida por la notación transitoria es una de las orientaciones deícticas. La capacidad más difícil de adquirir en el contexto educativo es la noción de Lyotard de que el deseo sólo puede cumplirse si se mantiene abierto el “espacio de oscilaciones” entre el interior y el exterior que en la notación transitoria se avanza mediante el uso del signo multimodal en superficies prescindibles de inscripción.
Palabras clave: creatividad, notación multimodo de transición, enseñanza y aprendizaje
Transitional drawing as a tool for generating, developing and modifying ideas: towards a programme for education
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Qualitative Inquiry as Gegenwerk: Connections Between Art and Research
No full textIn this article, the authors apply the findings of research into transitional processes in the arts to a consideration of qualitative research. They identify and describe four types of transitional practice: the transferential, the transformational, the transpositional, and the transgressional. Transitional practices in both art and research are found to be dialectical, involving presencing and absencing, doing and undoing, and repetition with modifications, and to produce provisional or transitional outcomes. Such practices enable both artists and researchers to manage tangled connections, juxtapositions, intertwinings, overlappings, and dislocations. Research is therefore not a simple linear process but, like (other) artistic processes, involves absencing, transformation, and redetermination as processes of emergent disclosure. Transitional practices therefore involve “work against the work”: Gegenwerk. An understanding of, and training in, such practices has the potential to develop quality, reflexivity, and criticality in both the undertaking and the reading of qualitative research
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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