Academia.eduAcademia.edu
All Topics
Computer Science
Computational Theory and Mathematics
Third-order Cybernetics

Third-order Cybernetics

description8 papers
group0 followers
lightbulbAbout this topic
Third-order cybernetics is the study of self-referential systems and the role of observers in the process of observation. It emphasizes the co-creation of knowledge and reality, focusing on the interactions between systems and their environments, and the implications of these interactions for understanding complex adaptive systems.
lightbulbAbout this topic
Third-order cybernetics is the study of self-referential systems and the role of observers in the process of observation. It emphasizes the co-creation of knowledge and reality, focusing on the interactions between systems and their environments, and the implications of these interactions for understanding complex adaptive systems.
Diagnosing Complex Organisations with Diverse Cultures-Part 2: Application to ASEAN
by Maurice Yolles

2024, systems12030107

This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
descriptionView Paperarrow_downwardDownload
Ecological Viability and Cybernetic of Ayllu
by LEONARDO LAVANDEROS

2022, Global Journal of HUMAN-SOCIAL SCIENCE: C Sociology & Culture

This paper introduces Ecological Viability, a new concept in Ecology. The concept is transdisciplinary and systemic in nature. The Ecotome concept is introduced in order to homologize it with the Ayllu (Quechua Aymara) and design the... more
descriptionView Paperarrow_downwardDownload
Pino Parini - Fra arte cibernetica e didattica - Gli anni sessanta e l’attuale sperimentazione
by RadicalMatters EditionsLabel

2020, Pino Parini - Fra arte cibernetica e didattica - Gli anni sessanta e l’attuale sperimentazione

Gli anni sessanta e l'attuale sperimentazione Pino Parini Fu un articolo di Gianni Roghi, fautore di incisive inchieste, intese soprattutto a denunciare la precarietà della ricerca scientifica in Italia a farmi conoscere il pensiero di... more
descriptionView Paperarrow_downwardDownload
Pino Parini - The relationship between perception and language in art education
by RadicalMatters EditionsLabel

2020, Pino Parini - The relationship between perception and language in art education

In this speech, I will focus on the relationship between perception, mainly the visual one, and language in art education. "Visione" è stato un gruppo di artisti e operatori visuali italiano attivo tra il 1959 e il 1967, noto dal 1968... more
A multi-value shape of great educational effectiveness, able to arouse the interest of even th the different images, attention focuses now on one element, then on another one, holding o
Figure 9: “They did not expect him” by Repin movements performed by a subject who observed Repin’s picture They did not expect him (fig. 9)
The relation between perception and language is now considered with regard to the constraints
picture by Van Gogh Still Life: Vase with Twelve Sunflowers (fig. 14).
To analyze which mental operations make up relations all we need are a few objects (fig. 25). In absolute silence, we will pick up one by one at least three objects, and will put them into a box
the bottle and the cylinder, and to ignore almost all the other parts of the picture. attention on the wide coloured areas in the background so as to be able, then, to mutually relate the
Operative criteria inducing different ways of relating things Complex scenes with many figures are suitable for experimentations on relations in compositions.
detail of Giotto’s fresco Lamentation (fig. 31) can help us to exemplify the procedure. linked together by a common expressive movement. The compositional dynamic will be visualized
This kind of exercise is certainly helpful in promoting a person’s ability to relate things to each other, and therefore it can be considered to be propaedeutical to the reading of works of art. However, it has to be taken into account that compositional rules change from period to period and igures 32 to 39 show how it is possible to proceed from the simplest compositional structure to the Fe such expressive movements. The second step consists in trying to form groups of three, four o more figures according to some kind of relation. In this way, we can verify how, depending on th way we look at the scene, it is possible to perceive many different configurations. Thes: configurations, which let us follow the rhythmical movement of the contours and creat relationships between light, shades and colours, can be centred upon either the concentration of th masses or the dynamism of the figures’ gestures and behaviours. The eight possibilities sketched 11 figures 32 to 39 show how it is possible to proceed from the simplest compositional structure to th
Figures 40 to 43 interplay and in the volumetric and plastic arrangements of Caravaggio’s The deposition of Christ
Figures 44 and 45 various parts of the picture keeping all of them present in his mind. Aesthetic perception, in any case, is a totalizing experience, involving all the aspects of what is
is possible to segment the line in smaller parts and analyze how they combine and relate to each other.
way the mental scheme of each single part of the face — the nose, the eyes, and the mouth — with a noun.
The result is clear (fig. 51): we found the same triangular or trapezoidal shaped-roofs that characterize the drawing The result is clear (fig. 51): we found the same triangular or trapezoidal shaped-roofs that characterize the drawings made by pure imagination; moreover, each house and building seems to be isolated and separated from its context. The operation of isolating separated elements also dominates observation, which confirms that mental representation constrains visual perception. were asked to reproduce in the most faithful way the old town centre of Bologna (fig. 50).
constrains visual perception.
Also in this case, the stereotyped shapes of the eyes, the nose and the mouth prevail and are prominent in their linear A further confirmation of these results was obtained with the following test. Children were shown a face drawn with
entrapped by the linear contours. identifiable forms. The plastic and volumetric role of the shades is almost completely ignored, while the chiaroscuro is
descriptionView Paperarrow_downwardDownload
Pino Parini - Operative criteria for stimulating imagination, fantasy and creativity
by RadicalMatters EditionsLabel

2020, Pino Parini - Operative criteria for stimulating imagination, fantasy and creativity

"Visione" è stato un gruppo di artisti e operatori visuali italiano attivo tra il 1959 e il 1967, noto dal 1968 come Gruppo di ricerca cibernetica. Il gruppo era costituito da un nucleo di artisti riminesi interessati a vario titolo al... more
Figure I (adapted from R. A. Finke, 1986) conditioned by the mental image (Le Scienze, 1986, n. 213).
Taking the “face” as an example the two moments can be thus visualised (fig. 2): The constitutive structure is represented by the arrows in so far as their potential dynamism llows us to define, on the basis of relationships of symmetry, the invariance of the respective sitions of the eye, the nose and the mouth, leaving their form undetermined (fig. 2a) while the uccessive integration of the lines of the face, excluding every phenomenal influence, such as the lay of light and shadows and every other expressive connotation, is configured in the schematic ssentiality of the invariable and conventional forms, defined by the simple outline (fig 2b). enriched finishing up in a form which can be considered the true mental representation. ositions of the eye, the nose and the mouth, leaving their form undetermined (fig. 2a) while the
where the iris and the pupil are shown, with disturbing insistence (figs. 3b, 3c and 3d). representation, becomes a graphic convention which leads to ignoring the shadows, whilst th
photograph of the historic centre of Bologna was copied (figs. 6a, 6b, 6c and 6d).
placed according to the constitutive structure of the face then three young girls’ faces appear
To overcome the bonds of automatism we must commit ourselves to mentally prefiguring the
and excited movements with which we can produce the smallest of articulations following varied
each test (figs. 15-20).
basic rhythmic articulation, as happens for example in dance steps. original ideas with decorative and abstract characteristics (figs. 22a and 22b).
produced (fig. 23), however, we can also use specially prepared stencils (fig. 24). reproduced several times, can be used in many alternative ways.
an improvised composition (figs. 31a, 31b and 31c). One particular procedure, pertinent to the rigour required for drawing, is that of carefully ncelling all of the lines which become superfluous during the phase of composition in such a way at the resulting figure stands out clearly from the background. It is thanks to the Gestaltic inciple of “good continuation” that we conserve the rhythmic confluence of the outlines achieving 1armonious correspondence between the different parts which is difficult to obtain in the case of aga ie as wet ee eS 1 harmonious correspondence between the different parts which is difficult to obtain in the case of
its outline, has to be removed (fig. 33). “counter- template” of the vases, that is, the support from which the shape of every vase, defined by
an unpredictable decoration, which changes with each small movement (figs. 34 and 35). panel in order to see the underlying motif appear through the cut-out silhouette, thereby becoming
up into those parts which have been given a name based on the use or function that they commonly * G. Marchetti, La macchina estetica. Il percorso operativo nella costruzione dell’atteggiamento estetico, Franco Angeli, Milano, 1997.
functional aspects (figs. 40, 41 and 42). by eliminated the back legs while the articulations which are usually distinguished by the angularity
We must take into account that the criteria of variation, multiplication, deformation, transformation etc of the parts, expropriate them from their original function favouring their fusion
could be offered if we put ourselves in a “creative mood”.
descriptionView Paperarrow_downwardDownload
Download research papers for free!
580 California St., Suite 400
San Francisco, CA, 94104