Roi Wagner
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780691171715
- eISBN:
- 9781400883783
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691171715.003.0006
- Subject:
- Mathematics, History of Mathematics
This chapter introduces the notion of embodied mathematical cognition by reviewing some neuro-cognitive theories of mathematical concept formation. It first considers the neuro-cognitive debate on ...
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This chapter introduces the notion of embodied mathematical cognition by reviewing some neuro-cognitive theories of mathematical concept formation. It first considers the neuro-cognitive debate on the mental representation of numbers, focusing on Stanislas Dehaene's notion of “number sense” and Vincent Walsh's ATOM (acronym for a theory of magnitude), before presenting the cognitive theory of mathematical metaphor and relating it to Water J. Freeman III's theory of meaning. It also examines Gilles Deleuze's Logic of Sensation in the context of mathematical practice, the link between the history of mathematics and neuro-cognition through an analysis of theories that explicitly engage the formation of higher mathematical concepts, and some challenges to the theory of mathematical metaphors.Less
This chapter introduces the notion of embodied mathematical cognition by reviewing some neuro-cognitive theories of mathematical concept formation. It first considers the neuro-cognitive debate on the mental representation of numbers, focusing on Stanislas Dehaene's notion of “number sense” and Vincent Walsh's ATOM (acronym for a theory of magnitude), before presenting the cognitive theory of mathematical metaphor and relating it to Water J. Freeman III's theory of meaning. It also examines Gilles Deleuze's Logic of Sensation in the context of mathematical practice, the link between the history of mathematics and neuro-cognition through an analysis of theories that explicitly engage the formation of higher mathematical concepts, and some challenges to the theory of mathematical metaphors.
D. N. Rodowick
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780226513058
- eISBN:
- 9780226513225
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226513225.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
In the past two decades, the contemporary art world has exhibited an ever-increasing fascination with the cinema; or better, a certain memory of the history of theatrical cinema. A principle material ...
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In the past two decades, the contemporary art world has exhibited an ever-increasing fascination with the cinema; or better, a certain memory of the history of theatrical cinema. A principle material of contemporary art—and it is a rich and varied one—is the ever-fading memory of cinema: a vast archive of cultural experience, elliptical and discontinuous fragments of memory-images, which become an ever more powerful source of fantasmatic resurrection and recreation because they can no longer be invoked directly. These works challenge both the history of cinema, and our memory of the history of cinema in complex ways. In this book, D. N. Rodowick examines how the moving image in contemporary art, in all its complex varieties, is producing a new kind of virtuality or time-image in terms of how it presents a “naming crisis” around questions of movement, image, time, and history in the works of artists such as Christoph Girardet and Matthias Müller, Ken Jacobs, Robert Morris, Victor Burgin, Harun Farocki, and Ernie Gehr.Less
In the past two decades, the contemporary art world has exhibited an ever-increasing fascination with the cinema; or better, a certain memory of the history of theatrical cinema. A principle material of contemporary art—and it is a rich and varied one—is the ever-fading memory of cinema: a vast archive of cultural experience, elliptical and discontinuous fragments of memory-images, which become an ever more powerful source of fantasmatic resurrection and recreation because they can no longer be invoked directly. These works challenge both the history of cinema, and our memory of the history of cinema in complex ways. In this book, D. N. Rodowick examines how the moving image in contemporary art, in all its complex varieties, is producing a new kind of virtuality or time-image in terms of how it presents a “naming crisis” around questions of movement, image, time, and history in the works of artists such as Christoph Girardet and Matthias Müller, Ken Jacobs, Robert Morris, Victor Burgin, Harun Farocki, and Ernie Gehr.
