Download Free The Mind At Hand Book in PDF and EPUB Free Download. You can read online The Mind At Hand and write the review.

The intellectual heritage of MIT: an account of "the flow of ideas" about science and education that shaped the Institute as it emerged and that inspires it today. The motto on the seal of the Massachusetts Institute of Technology, "Mens et Manus" -- "mind and hand" -- signals the Institute's dedication to what MIT founder William Barton Rogers called "the most earnest cooperation of intelligent culture with industrial pursuits." Mind and Hand traces the ideas about science and education that have shaped MIT and defined its mission -- from the new science of the Enlightenment era and the ideals of representative democracy spurred by the Industrial Revolution to new theories on the nature and role of higher education in nineteenth-century America. MIT emerged in mid-century as an experiment in scientific and technical education, with its origins in the tension between these old and new ideas. Mind and Hand was undertaken by Julius Stratton after his retirement from the presidency of MIT and continued by Loretta Mannix after his death; Philip N. Alexander, of the MIT Program in Writing and Humanistic Studies, stepped in to complete the project. The combined efforts of these three authors have given us what Julius Stratton envisioned -- "a coherent account of the flow of ideas" from which MIT emerged.
Theoretical and empirical accounts of the interconnectedness between the manual and the mental suggest that the hand can be understood as a cognitive instrument. Cartesian-inspired dualism enforces a theoretical distinction between the motor and the cognitive and locates the mental exclusively in the head. This collection, focusing on the hand, challenges this dichotomy, offering theoretical and empirical perspectives on the interconnectedness and interdependence of the manual and mental. The contributors explore the possibility that the hand, far from being the merely mechanical executor of preconceived mental plans, possesses its own know-how, enabling "enhanded" beings to navigate the natural, social, and cultural world without engaging propositional thought, consciousness, and deliberation. The contributors consider not only broad philosophical questions—ranging from the nature of embodiment, enaction, and the extended mind to the phenomenology of agency—but also such specific issues as touching, grasping, gesturing, sociality, and simulation. They show that the capacities of the hand include perception (on its own and in association with other modalities), action, (extended) cognition, social interaction, and communication. Taken together, their accounts offer a handbook of cutting-edge research exploring the ways that the manual shapes and reshapes the mental and creates conditions for embodied agents to act in the world. Contributors Matteo Baccarini, Andrew J. Bremner, Massimiliano L. Cappuccio, Andy Clark, Jonathan Cole, Dorothy Cowie, Natalie Depraz, Rosalyn Driscoll, Harry Farmer, Shaun Gallagher, Nicholas P. Holmes, Daniel D. Hutto, Angelo Maravita, Filip Mattens, Richard Menary, Jesse J. Prinz, Zdravko Radman, Matthew Ratcliffe, Etiennne B. Roesch, Stephen V. Shepherd, Susan A.J. Stuart, Manos Tsakiris, Michael Wheeler
The Mind at Hand explores how artists, scientists, writers, and others - students and professionals alike - see their world, record it, revise it and come to know it. It is about the rough-drawn sketch, diagram, chart, or other graphic representation, and the focus these provide for creative work that follows from them. Such work could involve solving a problem, composing a musical score, proposing a hypothesis, creating a painting, and many other imaginative and inventive tasks. The book is for for visual learners of all kinds, for scientists as well as artists, and for anyone who keeps a journal, notebook, or lab book in order to think and create visually. It is also a book for teachers and educational administrators interested in learning about new active learning strategies involving drawing, and possible outcomes of these in classrooms. The formulas and symbols of chemistry, the diagrams and features of the landscape in geology, and the organisms and structures in biology, are all represented as images on pages or screens. Students create them when studying, problem-solving, and learning. Once in front of their eyes, they can be reconsidered, revised, and reconstructed into new images for further consideration and revision. It is how artists often create a painting or a sculpture, and how scientists come up with new hypotheses. This is how learning occurs, not only across disciplines, but in all kinds of creative endeavors, through a continuing process of creation, revision, and re-creation. It is drawing-to-learn.
A research subject is shown a cartoon like the 1950 Canary Row--a classic Sylvester and Tweedy Bird caper that features Sylvester climbing up a downspout, swallowing a bowling ball and slamming into a brick wall. After watching the cartoon, the subject is videotaped recounting the story from memory to a listener who has not seen the cartoon. Painstaking analysis of the videotapes revealed that although the research subjects--children as well as adults, some neurologically impaired--represented a wide variety of linguistic groupings, the gestures of people speaking English and a half dozen other languages manifest the same principles. Relying on data from more than ten years of research, McNeill shows that gestures do not simply form a part of what is said and meant but have an impact on thought itself.
The Eye, the Hand, the Mind, celebrating the centennial of the College Art Association, is filled with pictorial mementos and enlivening stories and anecdotes that connects the organization's sixteen goals and tells its rich, sometimes controversial, story. Readers will discover its role in major issues in higher education, preservation of world monuments, workforce issues and market equity, intellectual property and free speech, capturing conflicts and reconciliations inherent among artists and art historians, pedagogical approaches and critical interpretations/interventions as played out in association publications, annual conferences, advocacy efforts, and governance.
The "New York Times" bestselling author of "The Compass of Pleasure" examines how our sense of touch is interconnected with our emotions Dual-function receptors in our skin make mint feel cool and chili peppers hot.
This book presents the human hand from an overall perspective – from the first appearance of hand-like structures in the fins of big fishes living millions of years ago to today ́s and the future’s mind-controlled artificial hands. Much focus is given to the extremely well-developed sensation of the hand, its importance and its linkage to brain plasticity mechanisms. How can active hands rapidly expand their representational area in the brain? How can the sense of touch substitute for other deficient senses, such as in Braille reading where hand sensation substitutes for missing vision? How can the mere observation of active hands, belonging to others, activate the hand area in the observer’s own brain and what is the importance of this phenomenon for learning by imitation and the understanding of other peoples’ actions, gestures and body language? Why are some of us left-handed and what are the consequences from cultural and physiological viewpoints? Why does phantom sensation and phantom pain occur after hand amputation, and what can we do about it? Why can salamanders regenerate new extremities while humans can not? Is it possible to transplant a hand from a diseased individual to an amputee? Can artificial robotic hands be controlled by our mind, and can they ever gain the role of a normal hand? What role did the hand and the brain play during evolution in tool construction and development of language and cognitive functions? The hand has a high symbolic value in religion, literature and art and our hands have a key role in gestures and body language. The Hand and the Brain is aimed at anybody with interest in life sciences, in the medical field especially hand surgeons, orthopaedic specialists, neurologists and general practitioners, and those working in rehabilitation medicine and pain treatment. The original Swedish version of The Hand and the Brain has also become very popular among physiotherapists, occupational therapists, psychologists, and among a general population with an interest in science.
The real-life Nickel and Dimed—the author of the wildly popular “Poverty Thoughts” essay tells what it’s like to be working poor in America. ONE OF THE FIVE MOST IMPORTANT BOOKS OF THE YEAR--Esquire “DEVASTATINGLY SMART AND FUNNY. I am the author of Nickel and Dimed, which tells the story of my own brief attempt, as a semi-undercover journalist, to survive on low-wage retail and service jobs. TIRADO IS THE REAL THING.”—Barbara Ehrenreich, from the Foreword As the haves and have-nots grow more separate and unequal in America, the working poor don’t get heard from much. Now they have a voice—and it’s forthright, funny, and just a little bit furious. Here, Linda Tirado tells what it’s like, day after day, to work, eat, shop, raise kids, and keep a roof over your head without enough money. She also answers questions often asked about those who live on or near minimum wage: Why don’t they get better jobs? Why don’t they make better choices? Why do they smoke cigarettes and have ugly lawns? Why don’t they borrow from their parents? Enlightening and entertaining, Hand to Mouth opens up a new and much-needed dialogue between the people who just don’t have it and the people who just don’t get it.
Photographs by Lee Friedlander.
Artist Oliver Jeffers gives readers an unprecedented and intimate window into his creative process, weaving his popular works with never-before-seen art and illustrations, alongside his personal story of how he came to art, his love of books, and his bookmaking, fashioned from his personal sketchbooks. This dynamic visual biography is Jeffers's personal chronicle of an artist who blends his love of creating stories with his love of art and his infectious charm, and is a must-have for art lovers and bibliophiles both young and old. Oliver Jeffers takes a dive into Oliver's own origin story, inspirations, art evolution, and passion for storytelling: from growing up loving art and creating stories as a young boy in Belfast, Ireland; to finding a huge audience for his loveable stories; to what led him to his enormously clever found painting; to his collaborations with U2, TED, Colette, and Apple, to his newest meditative dipped painting performances. Oliver Jeffers is a fresh canvas for his imagination, and includes a pass through his most popular work, never-before-published illustrations and art, and a look into his more personal world of sketchbooks and doodles. Oliver's own story, infused with the whimsy and joy his work is famous for, is must-have not only for current fans of Oliver Jeffers's picture books, but also new fans, art lovers, and bibliophiles both young and old.