Other Sides of Cognition
Edited By Sabine Flach and Jan Söffner
This book sheds light on the other sides of cognition, on what they mean for forms and figurations of subjective, cultural and social understanding. In examining nuances, exceptions, changes, emotions and absence of emotions, automatized actions and meaningful relations, states of minds and states of bodies, the volume searches new approaches to these phenomena in discussing the relation between the habitus – the habits and behavioral attitudes involved in cognition – and its embeddedness in a habitat. By opening a dialogue between artistic knowledge and the sciences, Other Sides of Cognition investigates novel avenues and concepts within science and research.
At a Berlin-based conference: Other Sides of Cognition, scholars gathered from various disciplines to discuss these issues. This book broadens perspectives on the interdisciplinary field encompassing perception, action and epistemic formations. It offers a new view on the related field of habitus and cognition.
, dusk, night, death, foreboding, “an ill defined patch of darker color on the wing of a moth,” a variation, a ghost, a shelter, a retired spot, a shutter.1 The word shade does not exist either in French or in German where ombre or Schatten represents both shadow and shade. Al- though the uses of the word shade thus attest to more than some overlap with shadow, shade is to be strictly distinguished from shadow. I will repeatedly in- 1 Oxford English Dictionary. 20 Harold Schweizer voke that difference only because shade is so distinctly different but its distinct- ness is stubbornly elusive. II The elusiveness of this difference between shadow and shade can be tested by assigning either of these two words certain adjectival modifiers, like cool, dark, quiet, serene. My contention is that the less such a quality partakes of the world of material, physical reality, the more it seems to become descriptive of the prop- erties of shade. Shade enters into figurative combinations almost without effort – a quiet shade, a serene shade, a tranquil shade – whereas the combination of such adjectives with shadow would imply a more deliberate, almost forced metaphori- cal effort, as in quiet shadow, serene shadow, tranquil shadow. In the adjectival modifiers of shade, we seem to speak of our own affect rather than of objects, as if the qualities of shade reached into us. Conversely, when I speak of qualities of shadow, they seem to denote the external world. Shadow, in short, represents external...
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