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FLOCKS, SWARMS, CROWDS, AND SOCIETIES: ON THE SCOPE AND LIMITS OF COGNITION
Title
FLOCKS, SWARMS, CROWDS, AND SOCIETIES: ON THE SCOPE AND LIMITS OF COGNITION.
Creator
Neemeh, Zachariah A, Favela, Luis H., University of Central Florida
Abstract / Description
Traditionally, the concept of cognition has been tied to the brain or the nervous system. Recent work in various noncomputational cognitive sciences has enlarged the category of "cognitive phenomena" to include the organism and its environment, distributed cognition across networks of actors, and basic cellular functions. The meaning, scope, and limits of 'cognition' are no longer clear or well-defined. In order to properly delimit the purview of the cognitive sciences, there is a strong need...
Show moreTraditionally, the concept of cognition has been tied to the brain or the nervous system. Recent work in various noncomputational cognitive sciences has enlarged the category of "cognitive phenomena" to include the organism and its environment, distributed cognition across networks of actors, and basic cellular functions. The meaning, scope, and limits of 'cognition' are no longer clear or well-defined. In order to properly delimit the purview of the cognitive sciences, there is a strong need for a clarification of the definition of cognition. This paper will consider the outer bounds of that definition. Not all cognitive behaviors of a given organism are amenable to an analysis at the organismic or organism-environment level. In some cases, emergent cognition in collective biological and human social systems arises that is irreducible to the sum cognitions of their constituent entities. The group and social systems under consideration are more extensive and inclusive than those considered in studies of distributed cognition to date. The implications for this ultimately expand the purview of the cognitive sciences and bring back a renewed relevance for anthropology and introduce sociology on the traditional six-pronged interdisciplinary wheel of the cognitive sciences.
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Date Issued
2017
Identifier
CFH2000191, ucf:46026
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000191
Touching the Unreal: The Definition, Narrative Strategies, and Aesthetics of 3D Cartoon Narratives.
Title
Touching the Unreal: The Definition, Narrative Strategies, and Aesthetics of 3D Cartoon Narratives.
Creator
Snow, Nathan, Mauer, Barry, Applen, JD, Grajeda, Anthony, Larsen, Darl, University of Central Florida
Abstract / Description
(")Touching the Unreal(") follows the structure set out by Scott McCloudin Understanding Comics to argue that understanding cartoons is serious business and requires that we define the art form, outline its basic tenets, and theorize how the mind understands it. The dissertation argues for a new definition of 3D computer generated cartoons, beginning with the most basic definition applicable to all forms of animation and taking into account new technological developments before arriving at...
Show more(")Touching the Unreal(") follows the structure set out by Scott McCloudin Understanding Comics to argue that understanding cartoons is serious business and requires that we define the art form, outline its basic tenets, and theorize how the mind understands it. The dissertation argues for a new definition of 3D computer generated cartoons, beginning with the most basic definition applicable to all forms of animation and taking into account new technological developments before arriving at the 3D cartoon narratives of today. The dissertation outlines the basic facets of 3D cartoon narratives in terms of narrative and aesthetics, arguing that, in spite of the technological changes required to produce the art form, narrative strategies have not changed significantly from 2D to 3D cartoon narratives. Rather, the 3D cartoon narrative aesthetic is focused primarily on synthetic, sculptural materiality to create a tactile, haptic viewing experience unavailable in any other form of animation. The dissertation advances theories of how the mind understands 3D cartoon narratives, starting with how these films guide the spectator to pre-determined conclusions based on character identification, flow theory, and mirror-neuron cognition. As a result of their narrative, aesthetics, and reception, these films constitute a new form of posthumanism and operate as a node in the modern viewer's web of distributed cognition, enchanting viewers through the ability to touch the unreal, synthetic images common to the modern world. (")Touching the Unreal(") contributes to the media field by providing a definition for 3D computer animation in all of its facets as genre, narrative, aesthetics, and ideology.
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Date Issued
2018
Identifier
CFE0007101, ucf:51962
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007101