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[Xmca-l] Re: Imagination
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- Subject: [Xmca-l] Re: Imagination
- From: peter jones <email@example.com>
- Date: Mon, 15 Dec 2014 00:23:58 +0000
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I often wonder what exactly the axes are within Hodges' model and other 2 X 2 frameworks?
The axes, provide structure and with that the care (knowledge) domains. The bare model then provides 'conceptual spaces'?
Interesting your description of gutters, frames...
Hodges' Model: Welcome to the QUAD: two cultures? physical care-mental health care : healthcare-social care : Hodges' model axes
| | | | | | | |
| Hodges' Model: Welcome to the QUAD: two cultures? phys...Welcome to the QUAD provides a space for reflections on a HEALTH, SOCIAL CARE and INFORMATICS model with universal potential in terms of application and... |
| View on hodges-model.blogsp... | Preview by Yahoo |
Blogging at "Welcome to the QUAD"
Hodges Health Career - Care Domains - Model
h2cm: help 2C more - help 2 listen - help 2 care
From: Larry Purss <email@example.com>
To: "eXtended Mind, Culture, Activity" <firstname.lastname@example.org>
Sent: Sunday, 14 December 2014, 23:56
Subject: [Xmca-l] Re: Imagination
I am fascinated with the *empty* spaces, the *gaps* that must *open* for
there to be any pictures or objects or things or essences. I particulary
like Mike's metaphor of the mind existing in the *gutter* between the
frames of comic strips. There is frame one then [a gutter] frame two then
[a gutter] frame three then [a gutter].
On example of the need for the open spaces for gap filling. When
intersubjectively engaging with others if we *mark* the others movement too
closely [mirrored marking] the other feels oppressed. A mother who cannot
sense or read the baby's needs and imitates or mirrors the baby's movement
is experienced as oppressive. There must be space in the dance.
I also would like to draw attention to Raymond Williams exploring our
notions of the IMAGINAL as understood as a particular historical *style*
[the fact/fiction as object/subject relation.]
When I read about the *third space* and *hybrid* testimonials that are BOTH
autobiographical and intersubjectively composed [hybrid formings as
structures of feeling that are not yet pictures or clear perceptions], I
hear echos of a new relation to fact/fiction emerging. I sense this novel
creative movement as *playing with* [as Gadamer uses the term to indicate
being *carried* or *drawing out*]
The notion of *experience* in English collapses two distinct meanings in
German. 1] the personal subjective Romantic type experience and 2]
experience as moving within the *play* and being carried by the *play* and
in this reciprocal movement *experiencing* a developmental *shift*.
Experience as intersubjective not subjective. A different meaning of
This is enough for my turn in our play
On Sun, Dec 14, 2014 at 1:08 PM, Annalisa Aguilar <email@example.com> wrote:
> Hi Vera,
> With regard to perception's relationship to metaphor, perhaps this is why
> the word "metaphor" means "to transfer, carry over"?
> Where does the metaphor generate from?
> Is it reasonable to think it is perception? If we cannot perceive
> something it won't make an impression into memory. I don't mean perception
> as void of emotional, embodied, and sociocultural influences, by the way.
> I looked up "synthesis" and this has a close root "to put, place."
> Metaphor is a synthesis!
> Kind regards,