#Constructivist Philosophy

[darrenwalleyconsultancy]

What is Constructivism?

Photo by Annie Spratt Constructivism is a theory of learning and knowledge that posits that individuals construct their understanding and knowledge of the world through experiences and reflecting on those experiences. This theory has profound implications in various fields, including education, psychology, and epistemology. Let’s delve into the key aspects of constructivism, its historical…

[void-magician]

Why is math hard it hurt my stupid brain.

But on a more serious note, is there a way to make formulaic math easier to understand? When applied to real world subjects I'm actually able to figure out what is being asked of me but as soon as it's bare formulas and strings of numbers my brain just drops out and refuses to understand

i don't think your brain is stupid, i just think math is taught in a way that seems altogether unintuitive - that being said i have some strategies that might be able to help

since you're able to reason things out when the math is applied to real-world subjects, try to find a way to apply the formulaic math you're struggling with to a real-world solution. frequently, i've found that with the students i tutor, connecting the subject matter at hand to something they're already interested in helps bridge that gap from theory to understanding.

in a similar vein, if the formulas themselves are evading you, try figuring out where the formulas come from or how they're derived. see if you can understand why certain formulas are built the way that they are, and that might help build some of those processing thought patterns you'll need to be more successful at math.

[omegaphilosophia]

The Philosophy of Category

The philosophy of category examines the ways in which we classify and organize the vast array of objects, concepts, and experiences that constitute our reality. Categories are fundamental to human thought and communication, influencing how we perceive, understand, and interact with the world. This branch of philosophy explores the nature, structure, and implications of categorization, delving into questions about the basis of categories, their fluidity, and their impact on our cognitive processes.

Key Concepts in the Philosophy of Category

Ontological Categories:

Concept: Ontological categories refer to the most basic and universal kinds of entities that exist. These categories include things like objects, properties, events, and relations.

Implications: Understanding these categories helps philosophers and scientists make sense of the fundamental structure of reality.

Epistemological Categories:

Concept: These are categories related to knowledge and the ways we come to understand the world. They include concepts such as facts, theories, and beliefs.

Implications: This explores how our categorization of knowledge affects our understanding and epistemic practices.

Linguistic Categories:

Concept: These categories pertain to the structure of language and include parts of speech (nouns, verbs, adjectives), syntactic structures, and semantic roles.

Implications: Investigating linguistic categories reveals how language shapes and reflects our thinking and communication.

Cognitive Categories:

Concept: These involve the mental categories we use to make sense of our experiences. Examples include concepts like 'animal,' 'tool,' or 'emotion.'

Implications: Cognitive categories are essential for understanding how we process information and navigate the world.

Social and Cultural Categories:

Concept: These categories are constructed by societies and cultures and include classifications such as gender, race, and social status.

Implications: Social categories can influence identity, power dynamics, and social interactions.

Theories on the Philosophy of Category

Classical Theory:

Theory: This theory posits that categories have clear boundaries and can be defined by a set of necessary and sufficient conditions.

Criticism: Critics argue that many categories do not have strict boundaries and that our use of categories is often more flexible and context-dependent.

Prototype Theory:

Theory: Proposed by Eleanor Rosch, this theory suggests that categories are organized around typical or "prototypical" examples rather than strict definitions.

Implications: This theory accounts for the fluidity and variability of categories in everyday thinking.

Family Resemblance Theory:

Theory: Ludwig Wittgenstein introduced this concept, arguing that categories are defined by overlapping similarities rather than a fixed set of characteristics.

Implications: This approach emphasizes the relational and context-dependent nature of categories.

Conceptual Blending Theory:

Theory: This cognitive theory, developed by Gilles Fauconnier and Mark Turner, explores how categories can combine to form new concepts through mental blending processes.

Implications: It provides insights into creativity, innovation, and the dynamic nature of categorization.

Constructivist Theories:

Theory: These theories argue that categories are not discovered but constructed by individuals or societies based on their interactions with the world.

Implications: Constructivist theories highlight the role of human agency and social context in shaping categories.

Understanding the philosophy of category provides a foundational framework for exploring how we organize our knowledge and experiences, shedding light on the complexities and dynamics of human cognition and social structures.

[nwtdwy]

Thoroughly good video on conceptual historical formation and performativity of sex and gender through a constructivist lens.

It bugs me that we're always on the defensive. When people ask us "why are people trans?" I think we should reply "why are people cis?" or, as Alexander puts it, "why does anyone have gender, cis or trans?" By having to explain ourselves, we don't expose cis people's underlying assumptions about gender, thus inadvertently naturalizing cisgenderedness. We also fall into the double standard imposed on any marginalized group, in which our successes are ignored and our failures heavily criticized, in which we are judged by the worst behavior we can display, which is, of course, no worse than anyone else's.

The latest Philosophy Tube video (https://www.youtube.com/watch?v=QVilpxowsUQ) also goes into this but in a more entertaining way and focuses mostly on Judith Butler's work.

[perkwunos]

It might be objected that Whitehead himself, in the opening chapter, writes (p. 12) that "philosophy has been misled by the example of mathematics; and even in mathematics the statement of the ultimate logical principles is beset with difficulties, as yet insuperable." Also, (pp. 11-12) "philosophy has been haunted by the unfortunate notion that its method is dogmatically to indicate premises which are severally clear, distinct, and certain; and to erect upon those premises a deductive system of thought." On the other hand, Whitehead emphasizes that the categoreal scheme must be "coherent" and "logical," and that (p. 5) "the term 'logical' has its ordinary meaning, including 'logical' consistency, or lack of contradiction, the definition of con[1]structs in logical terms, the exemplification of general logical notions in specific instances, and the principles of inference." Also (p. 13) "the use of the categoreal scheme ... is to argue from it boldly and with rigid logic. The scheme should therefore be stated with the utmost precision and definiteness, to allow of such argumentation." ... "Speculative boldness (p. 25) must be balanced by complete humility before logic, and before fact." There is no conflict between these two types of statements if it is recognized (p. 12) that "the accurate expression of the final generalities is the goal of discussion and not its origin" and that "metaphysical categories ... are tentative formulations of the ultimate generalities." Thus even tentative statements are to be expressed "with the utmost precision and definiteness" and with "complete humility before logic." If "the logician's alternative, true or false" is applied to the scheme of philosophic categories regarded "as one complex assertion ... the answer must be that the scheme is false. The same answer must be given to a like question respecting the existing formulated principles of any science." The categoreal scheme is put forward rather in a provisory way, to be improved upon by further reflection, better formulation, deeper insight, and discovery of further facts, scientific laws, and so on. Thus it is not "dogmatically" contended that the items of the categoreal scheme are "severally clear, distinct, and certain." Such a contention would indeed be unfortunate, and has been abandoned for the most part even in mathematics. Not only the "difficulties, as yet insuperable" that infect Principia Mathematica (as Whitehead noted, p. 12, footnote 3), but also the presence now of various kinds of set--theoretic alternatives, G6del's incompleteness theorem, the Loewenheim-Skolem theorem, various intuitionistic and constructivistic systems--all of these militate against any dogmatically certain rendition of the fundamental notions of mathematics. Whitehead's strictures against mathematics, written before 1929, are based upon an inadequate conception of its foundations and are no longer applicable.

Richard Milton Martin, Whitehead’s Categoreal Scheme and Other Papers

[theadaptableeducator]

An ‘Ism’ Overview - Precisionism vs. Constructivism

Precisionism and Constructivism are two art movements that emerged in the early 20th century. While both movements were a response to the rapid industrialization and technological advancements of the time, they differed in their approach to artistic expression and their underlying philosophies.

Precisionism, also known as the "New Objectivity," was a movement that emerged in the United States in the 1920s. It was characterized by a highly realistic and precise style that emphasized the geometric forms of modern architecture and machinery. Precisionist artists sought to capture the essence of the modern world through their work, using clean lines and sharp angles to convey a sense of order and clarity.

In contrast, Constructivism was a movement that emerged in Russia in the early 20th century. It was characterized by an emphasis on the use of industrial materials and the creation of art that was functional and utilitarian. Constructivist artists rejected traditional notions of art as something to be admired or hung on a wall, instead viewing it as a means of shaping and influencing society.

One key difference between the two movements was their approach to form. Precisionism emphasized the geometric shapes and lines of modern architecture and machinery, often portraying them in highly realistic and detailed ways. In contrast, Constructivism emphasized the use of industrial materials and the creation of art that was functional and utilitarian. Constructivist artists sought to create objects that were not only aesthetically pleasing but also had a practical purpose.

Another key difference between the two movements was their underlying philosophies. Precisionism was a response to the rapid industrialization and modernization of the early 20th century, and sought to capture the essence of the modern world through its art. In contrast, Constructivism was rooted in Marxist philosophy and sought to use art as a means of shaping and influencing society.

Despite these differences, both movements shared a common interest in the transformative power of technology and the possibilities it offered for creating a new, modern world. They both sought to capture the essence of the modern world through their art, and to explore the ways in which technology was changing the world around them.

In conclusion, Precisionism and Constructivism were two art movements that emerged in response to the rapid industrialization and technological advancements of the early 20th century. While they differed in their approach to form and their underlying philosophies, they shared a common interest in the transformative power of technology and the possibilities it offered for creating a new, modern world.

[amankhan99101]

Curriculum Choices: A Guide to Designing Effective Learning Programs

Designing an effective learning program is essential for providing students with engaging and meaningful educational experiences. In today's dynamic educational landscape, educators have a wide range of curriculum choices available to them, each with its own strengths and considerations. This article explores the key factors to consider when designing a curriculum, from understanding educational philosophies to selecting appropriate instructional materials and assessment strategies.

Understanding Educational Philosophies:

Effective curriculum design begins with a clear understanding of educational philosophies and theories. Whether drawing from traditional, progressive, or constructivist approaches, educators must align curriculum choices with their underlying beliefs about teaching and learning. By considering factors such as the role of the teacher, the nature of knowledge, and the purpose of education, educators can develop coherent and meaningful learning programs that reflect their educational values.

Aligning with Learning Objectives:

At the heart of curriculum design are clear learning objectives that outline what students should know and be able to do. These objectives serve as guiding principles for curriculum development, informing decisions about content selection, instructional methods, and assessment practices. By aligning curriculum choices with learning objectives, educators ensure that instructional materials and activities support student learning and mastery of essential skills and concepts.

Selecting Instructional Materials:

The selection of instructional materials is a critical aspect of curriculum design, as it directly impacts the delivery of content and the engagement of students. Educators must choose materials that are age-appropriate, culturally relevant, and aligned with learning objectives. Whether selecting textbooks, digital resources, or hands-on manipulatives, educators should consider the diverse needs and interests of their students and choose materials that promote active learning and critical thinking.

Incorporating Differentiated Instruction:

In today's diverse classrooms, educators are tasked with meeting the unique learning needs of every student. Effective curriculum design recognises that students have diverse learning styles, abilities, and backgrounds, and incorporates differentiated instruction strategies to address these differences. Differentiated instruction involves providing multiple means of representation, engagement, and expression to accommodate individual learning preferences and support student success. One key aspect of differentiated instruction is providing multiple means of representation, allowing students to access content in various ways. For example, educators may offer materials in different formats, such as text, audio, or video, to cater to different learning preferences. Visual learners may benefit from diagrams and charts, while auditory learners may prefer listening to lectures or podcasts. By presenting information in multiple formats, educators ensure that all students have the opportunity to engage with the content in a way that works best for them.

Another important component of differentiated instruction is offering flexible learning options that allow students to learn at their own pace and in their own way. This may involve providing choices in assignments or projects, allowing students to demonstrate their understanding through different mediums, such as written essays, presentations, or creative projects. By giving students autonomy over their learning, educators empower them to take ownership of their education and pursue topics that interest them.

Additionally, differentiated instruction involves adapting instructional strategies to meet the needs of diverse learners. Educators may use a variety of teaching methods, such as small group instruction, one-on-one tutoring, or hands-on activities, to engage students and accommodate different learning styles. By incorporating a mix of instructional approaches, educators can cater to the individual needs of their students and create inclusive learning environments where all students can thrive.

Assessing Student Learning:

Assessment plays a crucial role in curriculum design, providing valuable feedback on student progress and informing instructional decisions. Educators must select assessment strategies that align with learning objectives and accurately measure student attainment of essential knowledge and skills. From formative assessments that monitor ongoing progress to summative assessments that evaluate overall mastery, educators have a range of assessment tools and methods at their disposal. Formative assessments are designed to provide feedback on student learning while it is still in progress, allowing educators to identify areas of strength and areas for improvement. These assessments may take the form of quizzes, exit tickets, or class discussions and can be used to inform instructional decisions, such as adjusting teaching strategies or providing additional support to struggling students.

In contrast, summative assessments are administered at the end of a unit or course to evaluate student learning outcomes and determine overall mastery of content. These assessments may include tests, projects, or presentations and are used to assign grades or determine student readiness for advancement to the next level. Summative assessments provide a comprehensive measure of student achievement and help educators gauge the effectiveness of their instruction.

In addition to traditional assessments, educators may also use alternative or authentic assessment methods that allow students to demonstrate their understanding in real-world contexts. Performance-based assessments, such as portfolios, presentations, or project-based learning tasks, provide students with opportunities to apply their knowledge and skills in authentic situations, fostering deeper learning and engagement. Overall, effective assessment practices are essential for monitoring student progress, informing instructional decisions, and promoting student success. By selecting appropriate assessment strategies and methods, educators can ensure that their curriculum design effectively supports student learning and achievement.

Conclusion: Designing effective learning programs is a multifaceted process that involves integrating various elements to create comprehensive and engaging educational experiences. Educators must consider educational philosophies, learning objectives, instructional materials, differentiated instruction, and assessment strategies to develop curriculum choices that align with educational goals and support student learning. In the context of British curriculum school in Dubai, this process becomes even more critical as educators strive to meet the diverse needs of students within a global educational framework.

Educational philosophies serve as the foundation for curriculum design, guiding educators in their approach to teaching and learning. British curriculum school in Dubai often adhere to principles such as a holistic approach to education, emphasis on critical thinking and problem-solving skills, and fostering a love for lifelong learning. By embracing these philosophies, educators can create learning programs that nurture students' intellectual curiosity and academic growth.

Learning objectives play a crucial role in curriculum design as they outline the specific knowledge, skills, and competencies that students are expected to achieve. British curriculum school in Dubai typically set rigorous learning objectives aligned with international standards to ensure that students receive a high-quality education that is recognised globally. By clearly defining learning objectives, educators can tailor curriculum choices to meet the needs of diverse learners and facilitate meaningful learning experiences. Instructional materials are essential components of curriculum choices, providing the resources and tools needed to deliver instruction effectively. British curriculum school in Dubai often utilize a wide range of resources, including textbooks, digital platforms, multimedia resources, and hands-on materials, to support teaching and learning. These materials are selected based on their alignment with curriculum objectives, relevance to students' interests and backgrounds, and ability to engage learners in meaningful ways.

[cptenvs3000w24]

Blog 4: The Artful Accessibility of Nature's Beauty

Artistic interpretation of nature is an intricate interaction between the interpreter, the audience, and the underlying beauty of the natural world. I see myself as a guide in my role as a nature interpreter, and I take inspiration from the ideas presented in the textbook's Chapter 5. This chapter places a strong emphasis on the role that interpretation plays in helping visitors form connections with their surroundings, especially when it comes to difficult concepts like climate change.

As an interpreter, I value the constructivist education theory because it recognizes that people create new knowledge by drawing on what they already know. By drawing connections between this theory and interpretative techniques, the focus moves from providing knowledge to helping guests engage in active learning. It involves leading them on an adventure where they can interact with nature directly and form their own opinions and experiences. I genuinely believe that anyone can use art to interpret nature because art is an inclusive form of expression. Compared to some media that require specialized understanding, art is appealing since it is available to everyone.

The chapter discusses Maria Montessori's philosophy, which aligns with the idea of letting people educate themselves. In the same way, interpreters should serve as facilitators rather than as authoritative figures, encouraging tourists to explore and learn. This supports the notion that interpretation is an interactive process in which viewers actively engage with the art, making interpretation a comprehensive and immersive experience. 

Understanding "the gift of beauty" in the natural world is a complex process. It is exploring the intricate details of ecosystems and the fragile equilibrium of life, rather than just enjoying beautiful scenery on the surface. Discussing challenging topics, such as climate change, as part of interpretation is significant. This makes the beauty of nature a gift that requires care and consideration.

The beauty of natural landscapes is impacted by climate change, which is a major concern. An increasing temperature is causing changes in ecosystems, bloom patterns, and glacial retreats. As an interpreter, my job is to communicate these shifts while igniting action and hope rather than saddening people. As the chapter discusses, strategically framed discussions can be an effective means of conveying the complicated scientific implications related to climate change. Interpreters can make the problem accessible and inspire tourists to take up environmental stewardship by employing metaphors and locally relevant solutions.

In summary, I serve as a facilitator, a guide, and a catalyst for significant connections between people and the natural environment in my capacity as an interpreter of nature through art. The gift of beauty found in nature is more than just aesthetics; it is a call to action, an obligation to safeguard the delicate balance that keeps life on Earth alive.

[islandvillage]

Island Village Montessori School

Island Village (a 501c3 non-profit corporation) is a tuition-free public charter school for students in grades K-8 located on two campuses in Venice and Sarasota, Florida. We offer affordable early childhood programs as well. Based on the constructivist philosophy of Dr. Maria Montessori, IVMS is a safe and stimulating place to learn, incorporating today's technology in a nurturing environment where every student is celebrated as an individual and encouraged to reach their fullest potential.

Address: 2001 Pinebrook Rd Venice, FL 34292

Phone: 941-484-4999

Website: https://www.islandvillage.org

Social Media Link: https://www.facebook.com/islandvillage https://www.instagram.com/islandvillagemontessorischool

[omegaphilosophia]

The Philosophy of Knowledge Theory

The philosophy of knowledge theory, also known as epistemology, is a branch of philosophy that explores the nature, origin, scope, and limits of human knowledge. It seeks to answer fundamental questions about what knowledge is, how it is acquired, and how we can differentiate between true knowledge and mere belief or opinion.

Epistemology is concerned with several core issues, including:

Definition of Knowledge: One of the central debates in epistemology is the definition of knowledge. The traditional definition, dating back to Plato, is that knowledge is "justified true belief." However, this definition has been challenged and refined over the centuries, particularly with the introduction of the Gettier problems, which illustrate situations where justified true belief might still fail to constitute knowledge.

Sources of Knowledge: Epistemologists investigate various sources of knowledge, such as perception, reason, memory, and testimony. Each source has its strengths and weaknesses, and understanding how they contribute to knowledge is crucial for a comprehensive epistemological framework.

Justification: This involves exploring the criteria and methods by which beliefs are justified. Theories of justification include foundationalism, which posits that certain basic beliefs provide the foundation for all other beliefs, and coherentism, which suggests that beliefs are justified by their coherence with other beliefs.

Skepticism: Epistemology also addresses skepticism, the view that certain or all knowledge is impossible. Philosophers debate various forms of skepticism and attempt to refute or accommodate them within their theories of knowledge.

Epistemic Virtues and Vices: This area examines the intellectual character traits that promote or hinder the acquisition of knowledge, such as open-mindedness, intellectual courage, and intellectual humility. Theories like virtue epistemology focus on these traits as central to understanding how knowledge is gained and maintained.

The Role of Context: Contextualism is the view that the truth-value of knowledge claims can depend on the context in which they are made. This approach addresses how varying standards of evidence and justification might apply in different situations.

Key Theories in Knowledge Theory

Empiricism: The theory that knowledge primarily comes from sensory experience. Prominent empiricists include John Locke, George Berkeley, and David Hume.

Rationalism: The theory that reason and intellectual processes are the primary sources of knowledge. Key rationalists include René Descartes, Baruch Spinoza, and Gottfried Wilhelm Leibniz.

Constructivism: The theory that knowledge is constructed by individuals through their interactions with the world. Jean Piaget and Lev Vygotsky are notable figures in constructivist thought.

Pragmatism: The theory that knowledge is validated by its practical consequences and utility. Key pragmatists include Charles Sanders Peirce, William James, and John Dewey.

Reliabilism: The theory that beliefs are justified if they are produced by processes that reliably yield true beliefs. This approach focuses on the reliability of the cognitive processes involved in belief formation.

Virtue Epistemology: This theory emphasizes the role of intellectual virtues—character traits that contribute to the acquisition and retention of knowledge. Figures like Linda Zagzebski and Ernest Sosa have contributed significantly to this field.

The philosophy of knowledge theory is a dynamic and complex field that continues to evolve as new challenges and perspectives emerge. It plays a critical role in our understanding of how we come to know what we know and in addressing fundamental questions about the nature and limits of human cognition.

[temerevaalisa]

Manifesto CTS B Question1 (Week 11)

As defined by the Cambridge Dictionary, a manifesto is a documented expression of an organization's ideology, objectives, and strategies, typically associated with a political party. It is a document that an individual or group uses to make their values and beliefs known to others. It serves as a statement of purpose and a call to action, setting the course for future work and aspirations.

In our class, we collectively defined our manifesto as a group of graphic designers. The key points that stood out are:

Create, Don't Complicate: We believe in the power of simplicity and clarity in design. Our goal is to communicate ideas effectively, not to confuse or complicate.

Everything Has Been Done Before: We recognize that originality in design doesn't always mean creating something entirely new. It's about finding unique ways to reinterpret and reinvent existing ideas.

No Rules, It's Just Creativity: We embrace the limitless possibilities of creativity. There are no fixed rules or formulas in design; it's an open field for experimentation and innovation.

As a graphic designer, my manifesto is to communicate ideas effectively and beautifully. I believe in the power of design to simplify complex ideas, spark emotion, and create memorable experiences. Each project for me is an opportunity to solve a problem creatively, to learn something new, and to make a positive impact. I commit to high professionalism, respect for the client's vision, and a relentless pursuit of excellence in my craft.

As an example, I would like to share about one of my favorite Russian designers, Alexander Rodchenko. He is a significant figure in the world of Russian design and proposed his own manifesto, known as Rodchenko's Constructivist Manifesto. This manifesto emphasizes the following principles:

Art and Technology Fusion: Rodchenko believed that art and technology should not exist separately, but should be fused together in order to create new and innovative designs.

Design's Role in Society: He saw the designer's role as integral to the creation of a modern society. Designers, according to him, should actively participate in shaping society and influencing its direction.

Rejecting Old Traditions: Rodchenko's manifesto also called for a complete break from old artistic traditions. He believed that traditional art forms were unable to meet the demands of a rapidly changing, modern society.

Functionalism: Another key theme in the manifesto was the emphasis on functionality in design. Rodchenko argued that every design element should serve a practical purpose

In conclusion, a manifesto serves as a guiding light, a declaration of intent and belief systems. It grounds us and helps us maintain our unique identity in the world of design. It's a constant reminder of why we do what we do, our purpose, and our philosophy. Whether it's our class manifesto, my personal manifesto, or the Constructivist Manifesto by Alexander Rodchenko, they all emphasize the transformative power of design and its ability to shape and influence society. As designers, we carry the responsibility to create with purpose, innovate with consciousness, and impact with intention.

Word Count: 495 words

References:

Cambridge Dictionary - https://dictionary.cambridge.org/dictionary/english/manifesto

Alexander Rodchenko's art works - https://www.wikiart.org/en/alexander-rodchenko

Manifesto from class work by Alison, Alisa, Norman, Nia, Zongyi, Kelvin

[webionaire]

One way of approaching Goodman’s aesthetics, and of seeing both its unity and continuity with his work in other areas of philosophy, is by recalling some of the ideas presented in one of his early works, Fact, Fiction, and Forecast (originally published in 1954 [Goodman 1983]). There Goodman formulates what he calls “the general problem of projection” (of which the famous “new riddle of induction” is an instance). The problem is grounded in the general idea that we project predicates onto reality (a reality that is itself “constructed” by those projections, according to the constructivist approach Goodman defended from the time of A Study of Qualities [1941], hence in The Structure of Appearance [1951] and, later, in Ways of Worldmaking [1978a]). Hume famously claimed that inductions are based on regularities found in experience, and concluded that the inductive predictions may very well turn out being false. In Fact, Fiction, and Forecast, Goodman points out how “regularities” are themselves in a sense problematic. Take such objects as emeralds, which we classify by using the predicate “green.” They can also be said to be “grue,” i.e., observed up to a certain time t and found green, blue otherwise. Hence, our observations seem to equally grant two different inductions—that emeralds will remain green after t or that they will be blue. The problem is a general one, involving not just hypotheses but the projection of any predicate onto the world. Indeed, as we divide the world into green and blue things, so could we divide it into grue and bleen things (things that are observed up to t and found blue, and green otherwise). Notice that, under a description of the world using the “green/blue” predicate pair, there may be no change at time t (no change in the color of emeralds and sapphires for example), whereas there would be change under the alternative “grue/bleen” pair. Likewise, whereas there may be change, at time t, under “green/blue” (in case that, say, an emerald is painted over at t), there may be no change under the alternative pair, “grue/bleen.” The new riddle of induction—and, in general, the problem of projection—is, then, to explain what are the bases for projecting certain predicates—“green,” “blue,” “red,” etc.—onto the world, and not others—“grue,” “bleen,” “gred,” etc. For, as Goodman states it, “[r]egularities are where you find them, and you can find them anywhere” (1983, 83). There is no difference in principle between the predicates we use and those we could use, but rather a pragmatic difference in habit, or of “entrenchment” of certain predicates and not others.

[ianfulgar]

Iakov Chernikhov's contributions to avant-garde design are underscored by his unique philosophy: art should be a dialogue between the creator and the observer. Engaging with the Constructivist and Suprematist movements, he crafted pieces that beckoned viewers to participate in this dialogue. The "Suprematist Composition, 1922", inspired by Malevich's ethos, is a testament to this belief, using geometric forms to spark conversation and introspection. #artist #iakovchernikhov #suprematistcomposition #avantgardeart #constructivistmovement #russianart #geometricdesign #20thcenturyart #artphilosophy #formmeetsfunction #artisticrevolution #malevichinspired #abstractexpression #artandpolitics #designinnovation #chernikhovlegacy #suprematistmovement #arttranscendence #visualnarrative

[e-laing-arts246-03]

Blog Post 2: Grids 

In this week's reading and lecture, we covered grids and how the manipulate text in the forms of paragraphs and as captions and headings. I was interested in how the textbook talks about the history behind the grid formatting and how it only really started to change from the traditional book with borders around the text in the turn of the 20th century. I was interested in the commentary on how philosopher Jacques Derrida described the frame in Western art “as a form that seems to be separate from the work, yet it is necessary for marking its difference from everyday life. A frame or pedestal elevates the work, removing it from the realm of the ordinary.”(Lupton 153) This is intriguing to think about because as you move into 20th-century grids and formatting there is a huge emphasis on removing that border that separates the text from the physical pages. It is interesting to consider what Derrida might have throughout the philosophy behind the early 20th century designers moving towards a modern interpretation of what can be done with text on a page and the move towards styles like constructivism and futurism. I especially like some of the early constructivist designs including the Letterhead designed by Herbert Bayer for Bauhaus which is no surprise since that style in the history of design has long been one of my favorites for its bold interpredation of the traditional and its minimalist design. 

This week in class we completed Project 1 where we had 9 squares based on an image of an icon we found in a book or magazine and then manipulated the image by changing things like the line, color values, contrast, and the image itself. Overall I am pretty content with how my final project turned out however I definitely see some areas in which I could have improved craftsmanship or ventured further with my ideas. I am pretty proud of the work I did cutting out the contrast squares as I really put a lot of effort into redoing them so that they were the neatest possible. I also went with some bold decisions like not using color for the color square that maybe could have been adjusted to better fit the assignment parameters but I still think it stays true to the person I was trying to emulate, Patti Smith, and her rule-breaking punk aesthetic. 

[agritech08]

Postgraduate Diploma in Counselling Skills, Theories and Self-Awareness

Introduction This is the next step in the MA programme in Counselling Skills, Theories, and Self-Awareness. After completing the Postgraduate Certificate in Counselling Skills, Theories, and Self-Awareness, you can begin this programme. https://agritech.college/wp-content/uploads/2023/04/CareerDevelopment.mp4   Who is this for? The second stage of the programme, the Post Graduate Diploma in Counselling Skills, Theories, and Self-Awareness, builds on the learning from the Post Graduate Certificate (or alternative courses of study for learners 'transferring-in' from other programmes) and will appeal to professionals and volunteers who want to expand the pastoral dimension of their work and incorporate supervised counselling practise into their careers or volunteering. What will I learn? Learners will have to complete the four (4) core modules below. Each module is 10 ECTS points. Learners must accumulate a total of 40 ECTS points to graduate. How will I learn? 1200 hours of study are required to complete the course, according to its design. Awarded upon successful completion of the Post Graduate Diploma are 40 ECTS points. The Master of Arts in Counselling Skills, Theories, and Self-Awareness is accessible through this award. The PG Diploma in Counselling Skills, Theories and Self-Awareness offers an overview of the development and growth of four additional leading counselling philosophies (Constructivist, Family and Systemic, Trance and Mindfulness, and Solution-Focused), as well as a variety of theories, tools, and techniques that participants can apply to their own professional practise. Program Director John Perry has more than thirty years of experience working in the field of education as a teacher, college lecturer, mentor, and senior lecturer at a university. His passion is helping learners gain the drive and confidence that come from a strong feeling of self-worth and a sense of purpose and direction through coaching, counselling, and/or mentoring. Over the course of his career, John has assisted hundreds of students in getting past learning obstacles and swapping out constrictive, self-defeating beliefs with empowering, uplifting ones. John has created his own distinct method for fostering psychological resilience by assisting clients in taking charge of their issues while fostering optimistic feelings and a "can do" attitude. John helps learners move in the direction of the productive realisation of their intrinsic potential by using coaching, counselling, and mentoring techniques. More specifically, he aims to support students in overcoming self-doubt and developing resilience, happiness, and confidence.   Read the full article

[feministtraysh]

I ~get~ why postmodernist anti-essentialist discourse became a thing, but on an ethico-onto-epistemological level, it’s intellectually irresponsible as fuck, it’s cultural turn has now become counterproductive, the radicalism of its constructivist analytical frameworks is exhausted, its propensity for linguistic inaccessibility is clearly elitist & meant to silence well-earned critique, and it naively places semiotics & material phenomena in an outdated dialectical relationship that fails to engage with the material realities of the 21st century.

It’s no longer radical, nor revolutionary, and it has already BEEN retired.

Posting such a (clearly contrived) blasé statement after reading a couple entries from the Stanford Encyclopedia of Philosophy doesn’t mean you’ve stated a legitimate position, let alone provided any support for it. And the homophobic implications of such a position necessitate a much more critical assessment of why you advocate it.

I’d urge you (and everyone) to:

> Trace the genealogy of the “I was born gay” discourse from 19th century sexology through the cultural push of the late ‘00s/2010s, culminating with Obergefell v. Hodges.

> Study the history & “evidentiary basis” for conversion therapy and other forms of sexual “correction” of LGB people; look at historical & contemporary arguments for the “immorality” of homosexuals.

> Examine the quality of the empirical evidence for homosexuality in over 450 species and of the genetic & evolutionary basis for homosexuality in humans – scientific discourses aren’t just cultural productions that can be dismissed outright. > Interrogate the contemporary chameleonizing of homophobic discourses and the political implications of applying an identity politics framework to biological sexual attraction.

> Learn the discourses developed by the Gay Liberation Movement, why they were conceived in the first place, the political work such discourses did, and the cultural currency they possess/ed.

> Question the current active silencing of the radical praxis & discourses of the Gay Liberation Movement and such silencing’s connection to the decimation of an entire generation of gay activists by the US government during the AIDS crisis.

> Open up a book and thoughtfully examine the material conditions for gay people EVEN 20 YEARS AGO (for example, having gay sex was still punishable by law in 14 US states until 2003 – see Lawrence v. Texas).

> Reject the teleological “progress” narrative as applied to activist movements and the assumption that, today, we “know better” than they did back then; consider whose interests are served by framing activism this way.

> Conduct a self-critical assessment of which cultural manifestations of “I was born gay” discourse you know/have been exposed to and how your own social location impacts your opinion & limits your understanding.

THAT is a “dialectical”, intellectually honest engagement with the "I was born this way" discourse. This poststructuralist knee-jerk accusation of “essentialism” is very one-dimensional, doesn’t take any actual intellectual work to do, and (surprise) has been uncritically levied at theorists since the 1980s. I also have major issues with the “born this way” discourse – especially how it’s been co-opted for means other than gay liberation. But flat-out rejection of this type speaks more to the cultural & intellectual discourses currently reigning in academic spaces and spilling into cultural "relevancy". It reveals very little about the merits/drawbacks of marshaling the “born this way” discourse in the socio-political arena.

i get why the “i was born gay” line became a thing but on a personal and ontological level its stupid as fuck, its now become counterproductive and essentializing, it is undialectical and it should be retired