Conceptual Blending

The book deals with the complex history of six main mental models of light quanta: the Newtonian corpuscular model, the singularity model, the binary model of photons, the wave packet model, the semiclassical model and, finally, QED. Klaus Hentschel portrays the emergence and development of concepts as layered semantic accretion as a paradigm for long-term, multilayered processes involving a gradual formation of signification and shifting over time. The history of the concept of light quanta, featuring Isaac Newton, Max Planck, Albert Einstein, Johannes Stark, Robert Millikan, Gilbert N. Lewis and dozens of later physicists is taken as an insructive example of this process. The book is pertinent for physicists, historians and philosophers of physics, cognitive psychologists and for all people interested in the formation of our ideas and mental models of what is today called 'photons'.

This article focuses on 'gaming' as a continuing activity in everyday lives. 'Gaming' is cultural, social, and also intertwined with everyday lives of players. Previous approaches toward the understanding of player-experience mostly focused only on the 'moment of playing', considering 'game' as a special artifact to enter the 'magic circle' or 'virtual reality'. This article reexamines 'gaming' as a overall process of player participation, while it is patterned in everyday life and is continued for long-term. Through the concepts of 'Blended Space' and 'Conceptual Blending', this article attempts to understand the experience of player and the layers of the experience as players' familiar world and game world blends together through long-term participation.

Der Beitrag untersucht den mythischen Stoff des Sonnenaufgangs, d.h. des Wechsels des Sonnengottes von einer unterweltlichen in eine himmlische Sphäre am östlichen Horizont, wie er uns in ausgesuchten Text-und Bild/Text-Kompositionen des Alten Ägypten des 15.–10. Jahrhunderts v.Chr. überliefert ist. Zunächst werden die in diesen Texten bezeugten elementaren, handlungstragenden Einheiten gesammelt und gesichtet, und es wird versucht, diese in eine natürliche zeitliche Ordnung zu bringen. Anschließend wird einigen solcher Einheiten in Sonnenaufgangstexten nachgegangen, die offensichtlich aus anderen mythischen Stoffen stammen (Chnum-mit-der-Töpferscheibe-Mythos, Weltschöpfungsmythos, Osiris-Mythos). Dabei wird vorgeschlagen, diese im Kontext des Sonnenlaufes als (ursprünglich) metaphorische Sprechweisen, als metaphorische Instrumentalisierung zu verstehen. In einem weiteren Abschnitt wird einem auch in Sonnenaufgangstexten belegten Element, dem Himmelstor, nachgegangen, das in Texten vorkommt, in denen es im Kern nicht um den Sonnenaufgang, wohl aber um eine andere Art von Sphärenwechsel oder Grenzüberschreitung geht (Pyramidentext-und Totenbuch-Sprüche, Tempelritual). Es zeichnet sich ein funktionales Netzwerk von Leihen und Spenden von Elementen mythischer Stoffe um den Stoff des Sonnenaufgangs ab.

This article explores the use of conceptual blending theory for the study of creativity, especially as creativity is manifested in musical utterances. The first part of the article offers an overview of blending theory and describes two aspects of the theory that present challenges to the study of creativity in general, and to music in particular. The second part of the article offers an application of blending theory to Dido's lament from Henry Purcell's Dido and Aeneas, with an emphasis on the ways concepts prompted by language and music blend together to create a rich, and highly creative, world for the imagination.

This book examines the origin, content, and development of the musical thought of Heinrich Schenker and Arnold Schoenberg. One of the premises is that Schenker’s and Schoenberg’s inner musical lives are inseparable from their inner spiritual lives. Curiously, Schenker and Schoenberg start out in much the same musical-spiritual place, yet musically they split while spiritually they grow closer. The reception of Schenker’s and Schoenberg’s work has sidestepped this paradox of commonality and conflict, instead choosing to universalize and amplify their conflict. Bringing to light a trove of unpublished material, I argue that Schenker’s and Schoenberg’s conflict is a reflection of tensions within their musical and spiritual ideas. They share a particular conception of the tone as an ideal sound realized in the spiritual eye of the genius. The tensions inherent in this largely psychological and material notion of the tone and this largely metaphysical notion of the genius shape both their musical divergence on the logical (technical) level in theory and composition, including their advocacy of the Ursatz versus twelve-tone composition, and their spiritual convergence, including their embrace of Judaism. These findings shed new light on the musical and philosophical worlds of Schenker and Schoenberg and on the profound artistic and spiritual questions with which they grapple.

The origin, structure, and consequences of Heinrich Schenker’s and Arnold Schoenberg’s conception of the genius are not obvious, but previous studies have addressed this conception only obliquely. Aided by my study of Schenker’s papers in the Oswald Jonas Memorial Collection, I demonstrate through a close reading of Schenker’s and Schoenberg’s published and unpublished writings informed by conceptual metaphor theory and conceptual blending theory that Schenker and Schoenberg from about the time of their Harmonielehren onward both conceive of the genius as that perfect artist who in and through the act of improvisatory composition realizes the tone (an ideal sound), attains self-realization, and points the way to an elusive realization of mankind, a conception which draws on and develops those of Johann Wolfgang von Goethe and Arthur Schopenhauer, and which is tied together by the figure of vision and, appropriately enough, certain recurring image schemas, but also inadvertently by the figure of blindness. Schenker’s and Schoenberg’s divergent musical developments and their parallel, individualistic confessions of Judaism in the 1920s are both linked to this conception. Included are discussions of Immanuel Kant, the unconscious, morphology, the musical idea, tonality, painting, morality, God, and the Bilderverbot.

Arnold Schoenberg's curious ascription of dissonance to the six-three chord in his Harmonielehre reveals the positing of a unity of tonal and non-tonal music in their solving of problems of unrest in the tone, the dissonance, and the musical idea, but neither his fragmentary theoretical writings nor his interpreters have fleshed this connection out. On the contrary, the notion has arisen of a " tonal problem " as a distinguishing feature of tonal music. Drawing on blending theory and metaphor theory, I elucidate this unity by explaining Schoenberg's dialectical conceptions of the tone, the means of art (made up of consonances and dissonances), the musical work (as a presentation of the musical idea), and the evolution of perception and music and by supplementing Schoenberg's analysis of the first movement of Johannes Brahms's Piano Quartet No. 3 in C minor, op. 60. These findings shed new light on Schoenberg's and indeed on Brahms's musical thought.

Schenker’s concept of interruption remains a matter of division among music theorists. Peter H. Smith’s suggestion that Schenker’s concept of interruption reflects his valuation of linear evolution is true, but this valuation is only part of the story. A close reading of Schenker’s theoretical writings informed in the end by blending theory and metaphor theory demonstrates that Schenker is equally committed to both harmonic-linear unity and melodic-formal repetition as expressions of tonal life, and that interruption, which involves a dual articulation of the one Ursatz, caps a sustained effort to theorize the integration of unity and repetition. Schenker’s quest to reconcile form and harmony begins with the concept of the perfect authentic cadence, which he theorizes in Harmonielehre. Schenker subsequently develops the notion of harmonic unity through the concepts of consonance and dissonance, and he attempts to wed harmonic unity and formal repetition through the concept of the Urlinie. In the final stage of his theoretical career, Schenker arrives at the concept of interruption, which not only finally integrates formal repetition and harmonic unity but does so in a way that recuperates aspects of the tone not captured by these principles in themselves.

As a comparative reading informed by recent work in integration theory and metaphor theory shows, Heinrich Schenker's and Arnold Schoenberg's Harmonielehren adumbrate broader theories of composition based in part on a conception of the tone as a partly unconsciously perceived, living idea, which the artist imitates in a piece of music as a manifestation or development of one particular tone by means of the motive and the key. Schenker and Schoenberg further conceive of a piece as a picture of the tone and a statement about the tone. This analysis reveals that Schenker's and Schoenberg's peculiar clashes, such as in their starkly opposed attitudes toward tonality, are the result of a mere difference in emphasis—attributable to temperament—on the absoluteness of the tone as an idea of nature versus the contingency of the artist's response to the tone in the formation of music, a contradiction inherent in both of their remarkably parallel theories. This deep unity in Schenker's and Schoenberg's musical thought invites a reassessment of the opposed historical categories of tonal and post-tonal music, which have informed our perception of a fundamental conflict between their theories and limited our perception of commonality between their theories.

دانلود گزارش کارآموزی معماری ساختمان های بتنی از سری مقالات کارورزی با 40 صفحه و فرمت اجرایی Word

معماری ساختمان های بتنی را می خواهیم در قالب یک گزارش کارورزی در این پست از سایت دانلود آرتیکل بررسی کنیم. مطالب مهمی که در این مقاله آمده از این قرار است : در ابتدای مقاله تعمیر بتن در مناطق دریایی مورد بررسی قرار گرفته شده است. در ادامه سازه های اسکلت بتنی مورد بحث واقع شده است. سپس چگونگی ساختن یک ساختمان ایمن بیان شده. و در آخر به موضوع های ویژگی های فوم بتن و بتن الیافی پرداخته شده است. برای دانلود مقاله، در آخر توضیحات پایین لینک آن برای شما عزیزان قرار داده شده است.

مقالات مرتبط :

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معماری ساختمان های بتنی
بتن برعکس بقیه مصالح ساختمان سازی به همه معماران و مهندسان فقط امکان استفاده از انواع فرم ها و همین طور شکل های قطعات تولید شده را نمی دهد، بلکه در کنار آن این امکان را می دهد که از محصولات به خاصیت های منحصربه‌فرد نیز استفاده کنند.

زمانی که معماران و مهندسان قصد استفاده از آن را دارند، لازم است که متغیرهای زیادی را مانند استحکام، پایایی، خصوصیات گیرایی، محدوده مسلح سازی بتن، زیبایی شناسی و تکنیک شکل پذیری را در نظر داشته باشند. به همین دلیل معماری ساختمان های بتنی رو به افزایش است و محدودیت های آن یکسره در حال آزمایش و حل مسائل است.

اولین بار علم سنجش شن و ماسه با آب برای تولید کردن بتن توسط معماران مصری و روم باستان به روش ابتدایی انجام گرفت. ولی بیشتر تحقیقات و پیشرفت ها در این مورد در اواسط تا اواخر قرن نوزدهم و همین طور اوایل قرن بیستم توسط افرادی مانند مونیر، هنبیک، رانسوم و تالبوت انجام شده است.

دانلود مقاله کارآموزی معماری ساختمان های بتنی
دانلود مقاله کارآموزی معماری ساختمان های بتنی

در نهایت روش استفاده از بتن برای اجرای ساختمان ها توسط معماران و مهندسانی همچون فرانک لوید، رایت پیرلوییجی نروی، رابرت میلارت و تازگی ها فزولورخان توسعه یافته است، ولی قطعاً تاریخ استفاده از این ماده را در معماری ساختمان ها مرتبط به چندین دهه قبل است و هر کدام از این اشخاص نقشی اساسی در گسترش استفاده از بتن به روشی که امروزه می باشد و در فرم های مختلف به‌کار گرفته شده است، داشته اند.

نوآوری ها در تکنولوژی ساختمان
بسیاری از بهبودی ها در زمینه علم بتن در نیمه نخست قرن بیستم انجام گرفته است. شروع گسترش روش های قالب بندی بتن، تکنیک های پمپاژ و روش ها و مصالح کمکی در بتن برای کاربری آسان تر آنها در ساختمان های بتنی در این دوران انجام شده است.

قالب بندی
یکی از مزایای مورد توجه استفاده در معماری ساختمان های بتنی، امکان برنامه ریزی مخصوص استفاده از قالب ها به صورت مجدد می باشد. به روش قدیمی قالب ها از چوب استفاده می شدند ولی با گسترش تکنولوژی، این قالب ها با مخلوط چوب، فولاد و آلومینیوم یا فایبرگلاس و پلاستیک اجرا می شدند. هر دسته قالب این امکان را داشت که به‌صورت خودنگه‌دار به خارج ساختمان چسبیده می شد یا نیاز به شمع بندی در فضاهای مورد نیاز در داخل ساختمان برای نگه داشتن آنها لازم بود.

سیستم های قابل جابه‌جایی
هر چقدر که پیشینه استفاده از بتن طولانی می باشد، معماری ساختمان های بتنی به علت عیب در سیستم انتقال آن به بالا پیشینه کمی دارد. جابه‌جایی بتن در ارتفاع با وزن بالا مشکلی بود که ذهن معماران ساختمانی های بتنی را درگیر کرده بود. این تکنولوژی تا سال 1960 هیچ فرقی نکرد تا موقعی که پمپ های هیدرولیک در این موقع برای اولین بار نصب و انجام شد. این موضوع تا زمانی انجام شد که حالا در کارهای کوچک نیز انتقال بتن از این روش انجام می شود و در سال های قبل پمپاژ بتن به مکانی مناسب رسیده است. پمپاژ بتن به دلیل ویژگی پلاستیک آن محدود می باشد و به سیستم لوله کشی پیشرفته برای جابجایی به دیگر طبقات نیازمند می باشد و برای ارتفاعات بلند ساختمان های بتنی، استفاده از سیستم های فشار قوی نیاز است.

Conceptual blending has been proposed as the cogni-tive machinery for concept generation. While computational approaches to conceptual blending have been implemented with some success, the automatic approaches still struggle to consistently produce concepts and blends that 'make sense' and have value. Mechanisms and optimality principles for blending have been introduced, yet their formal integration remains sparse. In this paper, we suggest to partly bypass this problem by identifying some conceptual heuristics for blending. This is done through a top-down analysis of three proto-typical superheroes, an exemplary domain for conceptual blends and human imagination. We formalise the superheroes and backtrace their properties into their respective input spaces and from there map the inherited properties to cognitive theories for conceptualisation. It is our belief that computational blending systems could greatly benefit from conceptual heuristics for blending, identified in this top-down fashion. As a proof of concept of the identified superhero-blending heuristics, we blend the superhero 'Flowerman'.

The paper is concerned with the process of grammaticalization of some predicative PPs following English predicative adjectives. These are originally not arguments of adjectives but are rather adjunct-like elements introduced by certain copulas. Such frequent collocations may set in motion the process of conceptual and syntactic blending which ultimately results in their integration into the predicate-argument structure.

In actual stage of the mankind, the concept of the lifelong learning is a reality of the knowledge based society because this satisfies the new needs for its complex dynamics of evolution, of transformation, of development, etc. In this framework, almost all the crafts, jobs, professions, business, social services, etc. are continuously adapting to the demands of the new human society based on " computer ". By the " computer " we understand all the things and human activities which are made by /or with a computer, starting with the human common communications, through e-mail, Skype, WhatsApp, etc., till the sophistical artificial intelligences which helps mankind: to do better the things, to understand in the same time the " big " and the " little " Universe through learning. In this frame of the need of learning, it seems that the blended learning is gaining ground like a new educational paradigm which fulfils this need. Starting from a recent experience linked with a designed activity based on the blended learning technologies for reformulating a training plan of lifelong learning, which is supposed to give the school manager's competencies, dedicated for the teachers from the pre-universitary education system, if they will want to candidate at this position, this work is dedicated to some reflections about what is and what will become higher education in framework of the blended learning paradigm.

This paper explores topics in embodied cognition, soundscape composition and sonification. It explains the compositional decisions and technical considerations that went into the composition of the piece The Good Ship Hibernia, which is an example of embodied soundscape sonification. This explanation is undertaken within the context of an approach to both sonification design and music composition that accounts for and exploits the embodied aspects of meaning-making in auditory cognition as described in the embodied cognitive science literature.

The article overviews the basic assumptions and limitations of conceptual blending theory (CBT) as applied to music, and reconsiders the implications of the theory for musical creativity. CBT accounts of music have until now relied quite extensively on examples of music-as-product, and rarely considered the various levels of mediation between composition, performance and listening. It is therefore argued that an investigation of more process-based paradigms could hold significant ramifications for CBT. This argument is elaborated through a discussion of three intermedial, open-form scores by Earle Brown, Pauline Oliveros and Jennifer Walshe. The scores are considered as documents of situations where one or more performers partake, as active agents, in the composition, completion and elaboration of new cross-domain blends, as well as in the disintegration of already blended concepts. This conscious disintegration or unpacking of blends in performance is discussed as a significant aspect of the musical blending process as such, and one that deserves further consideration in creative conceptual blending research.

Cross-linguistic strategies for mapping lexical and spatial relations from body partonym systems to external object meronymies (as in English 'table leg', 'mountain face') have attracted substantial research and debate over the past three decades. Due to the systematic mappings, lexical productivity and geometric complexities of body-based meronymies found in many Mesoamerican languages, the region has become focal for these discussions, prominently including contrastive accounts of the phenomenon in Zapotec and Tzeltal, leading researchers to question whether such systems should be explained as global metaphorical mappings from bodily source to target holonym or as vector mappings of shape and axis generated " algorithmically ". I propose a synthesis of these accounts in this paper by drawing on the species-specific cognitive affordances of human upright posture grounded in the reorganization of the anatomical planes, with a special emphasis on antisymmetrical relations that emerge between arm-leg and face-groin antinomies cross-culturally. Whereas Levinson argues that the internal geometry of objects " stripped of their bodily associations " (1994: 821) is sufficient to account for Tzeltal meronymy, making metaphorical explanations entirely unnecessary, I propose a more powerful, elegant explanation of Tzeltal meronymic mapping that affirms both the geometric-analytic and the global-metaphorical nature of Tzeltal meaning construal. I do this by demonstrating that the " algorithm " in question arises from the phenomenology of movement and correlative body memories—an experiential ground which generates a culturally selected pair of inverse contrastive paradigm sets with marked and unmarked membership emerging antithetically relative to the transverse anatomical plane. These relations are then selected diagrammatically for the classification of object orientations according to systematic geometric iconicities. Results not only serve to clarify the case in question but also point to the relatively untapped potential that upright posture holds for theorizing the emergence of human cognition, highlighting in the process the nature, origins and theoretical validity of markedness and double scope conceptual integration.

This article provides an exploratory study of a new analytical approach to examining visual imagery in relation to the underlying cognitive processes involved. The analytical approach combines social semiotic theory of representation with cognitive-linguistic studies on blending or conceptual integration. The author's thesis is that visual-analytic tools suggested by the social semiotic approach perfectly complements the inward cognition of an image-viewer, a synergy which has rarely been envisaged by scholars from both disciplines. From this perspective, visual analysis is seen as both semioti-cally and cognitively relevant. The interdisciplinary approach developed in the article hopes to present new perspectives on the ways images are analysed and interpreted.

RÉSUMÉ
Cet article aborde les analogies proportionnelles du type A est à B ce que C est à D. Dans cette étude, une telle projection est vue comme un cas d'intégration conceptuelle qui fusionne en une seule structure des configurations partielles à partir de deux domaines distincts. Une telle fusion est sous-tendue par l'existence de Modèles Cognitifs Idéalisés et de frames partagés par les sujets parlants. L'objectif de cette recherche est de caractériser les MCI au sujet de l'automobile en tant qu'objet culturel et de proposer une taxonomie des relations connectées par ces projections analogiques. Une étude qualitative de 268 énoncés relevés sur le web nous permet de décrire ces relations en termes de parangon, rôle télique, relations partie-tout, rôle agentif et inférences pragmatiques ad hoc activées par les connaissances d'arrière-plan au sujet de la réalité intersubjectivement partagée.
ABSTRACT
This paper deals with the proportional analogy such as " A est à B ce que C est à D " (≈ As C is to D, so is A to B). In this study, such a projection mapping is viewed as a conceptual integration that integrates partial structures from two separate domains into a single structure. This blending operation is supported by Idealized Cognitive Models and frames shared by the speakers. The aim of this paper is to characterize the ICMs about cars as cultural objects and to propose a taxonomy of the relationships linked by the analogical projections. A qualitative study of 268 utterances taken from the web allow us to describe these relationships in terms of parangon, telic role, part-whole relations, agentive role and pragmatic inferences ad hoc available through background knowledge.