Difference between revisions of "Annotation:Text:An Introduction to Radical Constructivism/B4nt0qktwh"

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|AnnotationOf=Text:An_Introduction_to_Radical_Constructivism
 
|AnnotationOf=Text:An_Introduction_to_Radical_Constructivism
|AnnotationComment=Sameness, however, as we have seen, is always relative: Objects, and experiences in general, are the “same” with respect to the properties or components that have been checked in a comparison. Hence, an experience that consists, for instance, of the elements a, b, and c, can be considered the same as an experience consisting of a, b, c, and x, as long as x is not taken into account.
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|LastModificationDate=2019-07-23T12:15:27.085Z
|LastModificationDate=2019-06-13T18:25:52.630Z
 
 
|LastModificationUser=User:Sarah Oberbichler
 
|LastModificationUser=User:Sarah Oberbichler
|AnnotationMetadata=^"permissions":^"read":ӶӺ,"update":ӶӺ,"delete":ӶӺ,"admin":ӶӺ°,"user":^"id":6,"name":"Sarah Oberbichler"°,"id":"B4nt0qktwh","ranges":Ӷ^"start":"/divӶ3Ӻ/divӶ4Ӻ/divӶ1Ӻ/pӶ40Ӻ","startOffset":0,"end":"/divӶ3Ӻ/divӶ4Ӻ/divӶ1Ӻ/pӶ42Ӻ","endOffset":744°Ӻ,"quote":"No one uses these conceptual possibilities more skillfully than the professional magician. During a performance he may, for instance, request a spectator’s ring, toss another ring across the room to his assistant, and then let the stunned spectator find his ring in his own coat pocket. The magic consists in directing the spectators’ perception in such a way that they unwittingly construct an individual identity between the first experience of the ring and the experience of the thrown object. Once that has been done, it would, indeed, require magic to transfer the ring from the assistant to the spectator’s pocket. Another case is that of the red ribbon which the magician cuts into little pieces and then – literally with a flick of his hand – produces once more as one whole piece. \nA similar, often cited example, is the movie film which, depending on the conditions of perception, we see as a sequence of individually different images or as one continuously moving image. Irrespective of any “real” horse that may or may not have trotted somewhere at some time and been filmed while doing so, when the film is presented to us, we ourselves must construct the motion by constituting a continuous change of one horse from the succession of images. The fact that we do that unconsciously can not alter the fact that we have to do it in order to perceive the motion. \nNo less constructed are the judgments of sameness and difference in the realm of perceptual objects. As I indicated above, “sameness” is always the result of an examination with regard to specific properties. Two eggs may be considered the same because of their shape, size, or color, or because they come from the same hen; but there will be a pungent difference between them if one was laid yesterday and the other six weeks ago. A fieldmouse and an elephant are different in many ways, but they will be considered the same whenever we want to distinguish mammals from other animals. Finally, all eggs, all animals, and indeed all objects that I have ever seen or imagined, are the same in that one respect that I have isolated them as bounded, unitary objects in the total field of my experience. In these cases, as in all conceivable ones, it should be clear that the criteria by means of which sameness or difference is established are criteria that are created and chosen by the judging, experiencing subject and cannot be ascribed to an experiencer-independent world. \nFor an understanding of radical constructivism it is even more important to appreciate the subject’s active operating that gives rise to regularities and invariances in the experiential world. Both regularity and constancy presuppose repeated experience, and repetition can be established only on the basis of a comparison that yields a judgment of sameness. Sameness, however, as we have seen, is always relative: Objects, and experiences in general, are the “same” with respect to the properties or components that have been checked in a comparison. Hence, an experience that consists, for instance, of the elements a, b, and c, can be considered the same as an experience consisting of a, b, c, and x, as long as x is not taken into account.","highlights":Ӷ^"jQuery3210202764590961224342":^°°,^"jQuery3210202764590961224342":^°°,^"jQuery3210202764590961224342":^°°Ӻ,"text":"Sameness, however, as we have seen, is always relative: Objects, and experiences in general, are the “same” with respect to the properties or components that have been checked in a comparison. Hence, an experience that consists, for instance, of the elements a, b, and c, can be considered the same as an experience consisting of a, b, c, and x, as long as x is not taken into account.","category":"Argumentation2","data_creacio":1560443091381°
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|AnnotationMetadata=^"permissions":^"read":ӶӺ,"update":ӶӺ,"delete":ӶӺ,"admin":ӶӺ°,"user":^"id":6,"name":"Sarah Oberbichler"°,"id":"B4nt0qktwh","ranges":Ӷ^"start":"/divӶ3Ӻ/divӶ4Ӻ/divӶ1Ӻ/pӶ40Ӻ","startOffset":0,"end":"/divӶ3Ӻ/divӶ4Ӻ/divӶ1Ӻ/pӶ42Ӻ","endOffset":744°Ӻ,"quote":"No one uses these conceptual possibilities more skillfully than the professional magician. During a performance he may, for instance, request a spectator’s ring, toss another ring across the room to his assistant, and then let the stunned spectator find his ring in his own coat pocket. The magic consists in directing the spectators’ perception in such a way that they unwittingly construct an individual identity between the first experience of the ring and the experience of the thrown object. Once that has been done, it would, indeed, require magic to transfer the ring from the assistant to the spectator’s pocket. Another case is that of the red ribbon which the magician cuts into little pieces and then – literally with a flick of his hand – produces once more as one whole piece. \nA similar, often cited example, is the movie film which, depending on the conditions of perception, we see as a sequence of individually different images or as one continuously moving image. Irrespective of any “real” horse that may or may not have trotted somewhere at some time and been filmed while doing so, when the film is presented to us, we ourselves must construct the motion by constituting a continuous change of one horse from the succession of images. The fact that we do that unconsciously can not alter the fact that we have to do it in order to perceive the motion. \nNo less constructed are the judgments of sameness and difference in the realm of perceptual objects. As I indicated above, “sameness” is always the result of an examination with regard to specific properties. Two eggs may be considered the same because of their shape, size, or color, or because they come from the same hen; but there will be a pungent difference between them if one was laid yesterday and the other six weeks ago. A fieldmouse and an elephant are different in many ways, but they will be considered the same whenever we want to distinguish mammals from other animals. Finally, all eggs, all animals, and indeed all objects that I have ever seen or imagined, are the same in that one respect that I have isolated them as bounded, unitary objects in the total field of my experience. In these cases, as in all conceivable ones, it should be clear that the criteria by means of which sameness or difference is established are criteria that are created and chosen by the judging, experiencing subject and cannot be ascribed to an experiencer-independent world. \nFor an understanding of radical constructivism it is even more important to appreciate the subject’s active operating that gives rise to regularities and invariances in the experiential world. Both regularity and constancy presuppose repeated experience, and repetition can be established only on the basis of a comparison that yields a judgment of sameness. Sameness, however, as we have seen, is always relative: Objects, and experiences in general, are the “same” with respect to the properties or components that have been checked in a comparison. Hence, an experience that consists, for instance, of the elements a, b, and c, can be considered the same as an experience consisting of a, b, c, and x, as long as x is not taken into account.","highlights":Ӷ^"jQuery32109168521032311262":^°°,^"jQuery32109168521032311262":^°°,^"jQuery32109168521032311262":^°°Ӻ,"text":"","category":"Argumentation2","data_creacio":1560443091381°
 
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Latest revision as of 11:15, 23 July 2019

Annotation of Text:An_Introduction_to_Radical_Constructivism
Annotation Comment
Last Modification Date 2019-07-23T12:15:27.085Z
Last Modification User User:Sarah Oberbichler
Annotation Metadata
^"permissions":^"read":ӶӺ,"update":ӶӺ,"delete":ӶӺ,"admin":ӶӺ°,"user":^"id":6,"name":"Sarah Oberbichler"°,"id":"B4nt0qktwh","ranges":Ӷ^"start":"/divӶ3Ӻ/divӶ4Ӻ/divӶ1Ӻ/pӶ40Ӻ","startOffset":0,"end":"/divӶ3Ӻ/divӶ4Ӻ/divӶ1Ӻ/pӶ42Ӻ","endOffset":744°Ӻ,"quote":"No one uses these conceptual possibilities more skillfully than the professional magician. During a performance he may, for instance, request a spectator’s ring, toss another ring across the room to his assistant, and then let the stunned spectator find his ring in his own coat pocket. The magic consists in directing the spectators’ perception in such a way that they unwittingly construct an individual identity between the first experience of the ring and the experience of the thrown object. Once that has been done, it would, indeed, require magic to transfer the ring from the assistant to the spectator’s pocket. Another case is that of the red ribbon which the magician cuts into little pieces and then – literally with a flick of his hand – produces once more as one whole piece. \nA similar, often cited example, is the movie film which, depending on the conditions of perception, we see as a sequence of individually different images or as one continuously moving image. Irrespective of any “real” horse that may or may not have trotted somewhere at some time and been filmed while doing so, when the film is presented to us, we ourselves must construct the motion by constituting a continuous change of one horse from the succession of images. The fact that we do that unconsciously can not alter the fact that we have to do it in order to perceive the motion. \nNo less constructed are the judgments of sameness and difference in the realm of perceptual objects. As I indicated above, “sameness” is always the result of an examination with regard to specific properties. Two eggs may be considered the same because of their shape, size, or color, or because they come from the same hen; but there will be a pungent difference between them if one was laid yesterday and the other six weeks ago. A fieldmouse and an elephant are different in many ways, but they will be considered the same whenever we want to distinguish mammals from other animals. Finally, all eggs, all animals, and indeed all objects that I have ever seen or imagined, are the same in that one respect that I have isolated them as bounded, unitary objects in the total field of my experience. In these cases, as in all conceivable ones, it should be clear that the criteria by means of which sameness or difference is established are criteria that are created and chosen by the judging, experiencing subject and cannot be ascribed to an experiencer-independent world. \nFor an understanding of radical constructivism it is even more important to appreciate the subject’s active operating that gives rise to regularities and invariances in the experiential world. Both regularity and constancy presuppose repeated experience, and repetition can be established only on the basis of a comparison that yields a judgment of sameness. Sameness, however, as we have seen, is always relative: Objects, and experiences in general, are the “same” with respect to the properties or components that have been checked in a comparison. Hence, an experience that consists, for instance, of the elements a, b, and c, can be considered the same as an experience consisting of a, b, c, and x, as long as x is not taken into account.","highlights":Ӷ^"jQuery32109168521032311262":^°°,^"jQuery32109168521032311262":^°°,^"jQuery32109168521032311262":^°°Ӻ,"text":"","category":"Argumentation2","data_creacio":1560443091381°
Thema Erfahrung