Jack Ox | University of Texas at Dallas (original) (raw)
Videos by Jack Ox
This is the conference presentation that I made at the Generative Art Conference held from Decemb... more This is the conference presentation that I made at the Generative Art Conference held from December 14-17, 2021 in Cagliari, Sardinia. I describe how I made my visualization Kurt Schwitters' Ursonate beginning with the original tape from 1932 tape of his performance that was found by Jaap Spek in a closet at the WDR studios when Spek was the sound-engineer for Stockhausen. He gave a copy to Dick Raamakkers who put it in his electronic music studio in the Netherlands in the 1960s.
4 views
This video introduces the prototype of Intermedia Projects' Online Museum. It includes the design... more This video introduces the prototype of Intermedia Projects' Online Museum. It includes the design pages from each artist, who are responsible for online exhibitions and virtual tours.
12 views
Papers by Jack Ox
Conference Proceedings for 6th Conference on Creativity & Cognition, 2007
This tutorial is designed for students in various disciplines (arts & sciences) that traditionall... more This tutorial is designed for students in various disciplines (arts & sciences) that traditionally work in other media and would like to integrate visualization into their work to enhance communication of ideas and concepts. Attendees that are already using visualization methods in their work can benefit from this tutorial because they will be exposed to different ways of visualization as it provides an environment to improve communication skills and the opportunity to acquire visual literacy. This tutorial provides an examination of different kinds of visualization concepts, which will be exemplified by the work of different artists and scientists, both historical and current. In addition to the lecture component, the course provides hands-on experience with a laboratory assignment.
Creativity and Cognition, Oct 26, 2009
We are pleased to share with you the Proceedings of the Seventh ACM Conference on Creativity and ... more We are pleased to share with you the Proceedings of the Seventh ACM Conference on Creativity and Cognition. The Proceedings contains research from an amazingly diverse array of disciplines, perspectives, and methodological approaches. The conference topic of 'everyday creativity' reminds us of the varied ways in which individuals and groups can be innovative, inventive, ingenious, and resourceful not only in the arts, science, engineering, and design, but also in addressing situations that arise in everyday life. Out of 137 submitted full papers we could publish only 34, for a full-paper acceptance rate of 25%. The Proceedings also includes a set of eleven short papers from the Graduate Student Symposium, showcasing the emerging perspectives of new voices in this community. The 14 demos and 36 posters presented at the conference are represented here by short papers, as are the thirteen art pieces and seven live performances. The Proceedings also includes brief outlines of invited keynote talks, conference workshops, and tutorials. This year's papers fall into six broad themes of Young Creators; Inclusion and Identity; Culture and Context; Theories, Methods, Metrics, and Tools; Art and Craft; and Design. A group of three papers on Young Creators looks at children in science, music, and storytelling. One paper studies two online communities that mediate children working with scientists; another reports on teenagers doing computer music; and the third on technology-augmented environments for children's storytelling. Two Inclusion and Identity papers look at social aspects. One discusses a project that engaged older men in participatory design, in an effort to tackle digital exclusion. The other paper in this category confronts questions of prejudice, stigma, and the creation of social identities in online environments. The four Culture and Context papers go beyond individuals and view creativity as a phenomenon in the broader community. Two papers on childhood and education examine, respectively, the American and Australian contexts; a third describes six creativity support tools developed in a community-based robotics project. The fourth paper reports on the use of cultural probes for design in a village in Rwanda. Seven papers on Theories, Metrics, Methods, and Tools view creativity as a process that can be explicitly modeled, measured, and supported. One establishes the 'Creativity Support Index', a survey metric to help researchers and designers evaluate the level of creativity support that various systems provide. Another reports on a study using 'Computational Metaphor Identification,' a textual analysis technique, to foster metaphorical creativity in science education. A third paper investigates how practitioners make sense of their own creative work using the 'Repertory Grid Technique'. A fourth discusses a computational framework that addresses the worth of ideas ascribed by agents embedded in a social world. A fifth, empirical, paper reports on three perspectives on creative interaction: productive, structural, and longitudinal. A sixth considers serendipity in people's interactions with computers, revealing a space for computer-based systems to support serendipitous creativity, innovation and discovery. And a seventh paper studies the relationship of consuming alcohol with perceived and actual creativity. Five papers look at creativity in art--film scoring, theatre, literature, and interactive art--and two more look at craft-- one at digitally printed paper collage; the other at knitting. The paper on film scoring presents a design study, including prototypes, for supporting synchronous and asynchronous collaboration among stakeholders. The theatre paper asks: What are actors thinking as they engage in improvisational theatre? The literature paper describes the RiTa computational toolkit for writing, and its use in a computational literature class. A case study of the design of an interactive art piece and the audience's experience reflects on the relationship of play and complexity. And a reflective paper looks at algorithmic art from its early days to postulate about relationships between art, artists, creativity, and society. Finally, the largest group of papers is about design. Three focus on creative processes in design, for example papers on 'microsketching,' prototyping, and generative walk-throughs. The fourth investigates how designers can learn from stroke patients' designs for assistive devices. A case study in biologically inspired (biomimetic) design is the topic of a fifth paper in this group. A sixth paper looks at social creation and cultural cognition through the lens of visual and verbal protocols of an architectural design process. Using 'Business Process Excellence', a seventh design paper reports on a case study of how an engineering firm balances risk and creativity. An empirical study employing social network analysis finds that teams scoring higher on perspective taking and…
Leonardo, Oct 1, 2017
Universities around the world are now debating the PhD degree in art and design-and whether to aw... more Universities around the world are now debating the PhD degree in art and design-and whether to award it. Among the central questions: Is this a research degree as in other fields or a degree for advanced professional practice? If it is a research degree, how should we define artistic research or design research? Should there be multiple models for the PhD degree or several? If there are several, should all degrees represent any common standards? As the world's leading journal of art, science and technology, Leonardo has a crucial stake in the answers to these questions. Over three years from 2017, the Leonardo Symposium on the PhD in Art and Design will serve as a forum for expert inquiry and debate on the PhD degree in the creative arts, in design and in the interdisciplinary field of artscience.
Leonardo, Feb 1, 1999
Synesthesia is a brain anomaly in which the real information of one sense is accompanied by the p... more Synesthesia is a brain anomaly in which the real information of one sense is accompanied by the perceptionregarded by the synesthete as realof another sense. I believe that this condition is similar to the phenomenon of absolute pitch [1] in that some people are born ...
For over twenty years I have been occupied with the translation of music into sets of visual lang... more For over twenty years I have been occupied with the translation of music into sets of visual languages. This continuing evolution of language systems was needed in order to express the growing number of sound situations created by composers in the twentieth century. The latter part of that century demanded a flexible expansion of parameters because of increasingly complex patterns. It was natural that I would find myself wanting to move from two dimensions into three because this move carried an exponential increase in the number of systems available for possible manipulation while translating the different structural elements within a musical performance.
ABSTRACT Jack Ox is the visual artist half of a collaborative team consisting of herself and Davi... more ABSTRACT Jack Ox is the visual artist half of a collaborative team consisting of herself and David Britton, programmer. She will talk about the development of their virtual reality immersive project called The 21st C. Virtual Color Organ The Organ is an instrument which can visualize ...
IEEE MultiMedia, Jul 1, 2000
T he 21st Century Virtual Reality Color Organ is a computational system for translating musical c... more T he 21st Century Virtual Reality Color Organ is a computational system for translating musical compositions into visual performance. It uses supercomputing power to produce 3D visual images and sound from Musical Instrument Digital Interface (MIDI) files and can play a variety of compositions. Performances take place in interactive, immersive, virtual reality environments such as the Cave Automatic Virtual Environment (CAVE), VisionDome, or Immersadesk. Because it's a 3D immersive world, the Color Organ is also a place-that is, a performance space. We are the principals of the Organ project and have collaborated with a growing list of contributors from both industry and high-performance computing universities (see the "Acknowledgments" section for more information). Britton handles the graphics programming and the metaarchitecture of the programming structure (see the sidebar "The Technology Behind the Color Organ"), while Ox contributes the concept, visual images, musical analysis, visualization systems, and texture maps. This interactive instrument consists of three basic parts:
ABSTRACT Jack Ox is the visual artist half of a collaborative team consisting of herself and Davi... more ABSTRACT Jack Ox is the visual artist half of a collaborative team consisting of herself and David Britton, programmer. She will talk about the development of their virtual reality immersive project called The 21st C. Virtual Color Organ The Organ is an instrument which can visualize ...
Springer series on cultural computing, 2018
Gridjam, a performance instrument, visualized real-time in the Virtual Color Organ, was developed... more Gridjam, a performance instrument, visualized real-time in the Virtual Color Organ, was developed and transformed through collaboration and new technology during a fifteen year process. The artist’s collaboration with scientists demonstrated that this project can show the potential of packet-less, global, direct connections. This article describes the origins of the Gridjam in the Virtual Color Organ and envisages its performance in a future environment.
IS&T International Symposium on Electronic Imaging Science and Technology, Feb 14, 2016
Color is an ecologically organized, dynamic system. Each object inside the category (or domain) o... more Color is an ecologically organized, dynamic system. Each object inside the category (or domain) of color carries attributes, including image schemas. Image schemas are dynamic patterns, often connected to objects that emerge from embodied experiences; these are essential to the process of abstract conceptualization and reasoning. How image schemas manifest themselves is described in the section on the interaction of color, which focuses on the Bauhaus painter, Josef Albers. The concept of color as a category is important; we categorize in order to construct thoughts. Even infants categorize; one cannot engage in intelligent thought and action without this capacity. Categories consist of entities that share similarities in varying degrees. The psychologist, Eleanor Rosch, approached and qualified color as a natural category. Berlin and Kay, started the Universalist, evolutionary view of color categorization in 1969, and anthropologists have added to this tradition ever since. This paper shows examples of color mappings that can be described accurately and clearly using the language and thinking of conceptual metaphor theory. To this end I chose a particular path through the domain of color: Goethe,
Leonardo Music Journal, 1993
_ Thomson, 17ze Last Garcfen, intermedia performance combining experimental _ movement, music, vi... more _ Thomson, 17ze Last Garcfen, intermedia performance combining experimental _ movement, music, video, visual design and technology, 1993. This work uses two _ interactive computer-music systems, a virtual stage set created by three channels = _ of interactive laser video disc, one channel of prerecorded video and MIDI_ = controlled stage lighting to address the impact of humankind on the land and of
Leonardo, Mar 7, 2016
Design encompasses a flexible set of ideas that occur naturally across multiple domains. Richard ... more Design encompasses a flexible set of ideas that occur naturally across multiple domains. Richard Buchanan describes the trajectory of design over the 20th century. Design began as trade and slowly attained the status of a profession. Later, it became a field for technical research. It has shifted at last to what Buchanan describes as the “liberal art of technical culture.” As liberal arts developed over the 19th century, subject matter divided into the compartmentalized arenas of knowledge that we see in our universities today. A narrow focus offers advantages in research with many disciplines, particularly in the natural sciences and mathematics. Despite this benefit, the compartmentalized and divided disciplines of the modern university create problems when scholars and scientists must understand the complexities of human action in the world. The problem of specialization also calls for integrative disciplines---disciplines that require conceptual processes to bridge such separate fields as art, mathematics, natural science and social science. We control each of these domains through algorithms that we create and apply in different ways [1].
This is the conference presentation that I made at the Generative Art Conference held from Decemb... more This is the conference presentation that I made at the Generative Art Conference held from December 14-17, 2021 in Cagliari, Sardinia. I describe how I made my visualization Kurt Schwitters' Ursonate beginning with the original tape from 1932 tape of his performance that was found by Jaap Spek in a closet at the WDR studios when Spek was the sound-engineer for Stockhausen. He gave a copy to Dick Raamakkers who put it in his electronic music studio in the Netherlands in the 1960s.
4 views
This video introduces the prototype of Intermedia Projects' Online Museum. It includes the design... more This video introduces the prototype of Intermedia Projects' Online Museum. It includes the design pages from each artist, who are responsible for online exhibitions and virtual tours.
12 views
Conference Proceedings for 6th Conference on Creativity & Cognition, 2007
This tutorial is designed for students in various disciplines (arts & sciences) that traditionall... more This tutorial is designed for students in various disciplines (arts & sciences) that traditionally work in other media and would like to integrate visualization into their work to enhance communication of ideas and concepts. Attendees that are already using visualization methods in their work can benefit from this tutorial because they will be exposed to different ways of visualization as it provides an environment to improve communication skills and the opportunity to acquire visual literacy. This tutorial provides an examination of different kinds of visualization concepts, which will be exemplified by the work of different artists and scientists, both historical and current. In addition to the lecture component, the course provides hands-on experience with a laboratory assignment.
Creativity and Cognition, Oct 26, 2009
We are pleased to share with you the Proceedings of the Seventh ACM Conference on Creativity and ... more We are pleased to share with you the Proceedings of the Seventh ACM Conference on Creativity and Cognition. The Proceedings contains research from an amazingly diverse array of disciplines, perspectives, and methodological approaches. The conference topic of 'everyday creativity' reminds us of the varied ways in which individuals and groups can be innovative, inventive, ingenious, and resourceful not only in the arts, science, engineering, and design, but also in addressing situations that arise in everyday life. Out of 137 submitted full papers we could publish only 34, for a full-paper acceptance rate of 25%. The Proceedings also includes a set of eleven short papers from the Graduate Student Symposium, showcasing the emerging perspectives of new voices in this community. The 14 demos and 36 posters presented at the conference are represented here by short papers, as are the thirteen art pieces and seven live performances. The Proceedings also includes brief outlines of invited keynote talks, conference workshops, and tutorials. This year's papers fall into six broad themes of Young Creators; Inclusion and Identity; Culture and Context; Theories, Methods, Metrics, and Tools; Art and Craft; and Design. A group of three papers on Young Creators looks at children in science, music, and storytelling. One paper studies two online communities that mediate children working with scientists; another reports on teenagers doing computer music; and the third on technology-augmented environments for children's storytelling. Two Inclusion and Identity papers look at social aspects. One discusses a project that engaged older men in participatory design, in an effort to tackle digital exclusion. The other paper in this category confronts questions of prejudice, stigma, and the creation of social identities in online environments. The four Culture and Context papers go beyond individuals and view creativity as a phenomenon in the broader community. Two papers on childhood and education examine, respectively, the American and Australian contexts; a third describes six creativity support tools developed in a community-based robotics project. The fourth paper reports on the use of cultural probes for design in a village in Rwanda. Seven papers on Theories, Metrics, Methods, and Tools view creativity as a process that can be explicitly modeled, measured, and supported. One establishes the 'Creativity Support Index', a survey metric to help researchers and designers evaluate the level of creativity support that various systems provide. Another reports on a study using 'Computational Metaphor Identification,' a textual analysis technique, to foster metaphorical creativity in science education. A third paper investigates how practitioners make sense of their own creative work using the 'Repertory Grid Technique'. A fourth discusses a computational framework that addresses the worth of ideas ascribed by agents embedded in a social world. A fifth, empirical, paper reports on three perspectives on creative interaction: productive, structural, and longitudinal. A sixth considers serendipity in people's interactions with computers, revealing a space for computer-based systems to support serendipitous creativity, innovation and discovery. And a seventh paper studies the relationship of consuming alcohol with perceived and actual creativity. Five papers look at creativity in art--film scoring, theatre, literature, and interactive art--and two more look at craft-- one at digitally printed paper collage; the other at knitting. The paper on film scoring presents a design study, including prototypes, for supporting synchronous and asynchronous collaboration among stakeholders. The theatre paper asks: What are actors thinking as they engage in improvisational theatre? The literature paper describes the RiTa computational toolkit for writing, and its use in a computational literature class. A case study of the design of an interactive art piece and the audience's experience reflects on the relationship of play and complexity. And a reflective paper looks at algorithmic art from its early days to postulate about relationships between art, artists, creativity, and society. Finally, the largest group of papers is about design. Three focus on creative processes in design, for example papers on 'microsketching,' prototyping, and generative walk-throughs. The fourth investigates how designers can learn from stroke patients' designs for assistive devices. A case study in biologically inspired (biomimetic) design is the topic of a fifth paper in this group. A sixth paper looks at social creation and cultural cognition through the lens of visual and verbal protocols of an architectural design process. Using 'Business Process Excellence', a seventh design paper reports on a case study of how an engineering firm balances risk and creativity. An empirical study employing social network analysis finds that teams scoring higher on perspective taking and…
Leonardo, Oct 1, 2017
Universities around the world are now debating the PhD degree in art and design-and whether to aw... more Universities around the world are now debating the PhD degree in art and design-and whether to award it. Among the central questions: Is this a research degree as in other fields or a degree for advanced professional practice? If it is a research degree, how should we define artistic research or design research? Should there be multiple models for the PhD degree or several? If there are several, should all degrees represent any common standards? As the world's leading journal of art, science and technology, Leonardo has a crucial stake in the answers to these questions. Over three years from 2017, the Leonardo Symposium on the PhD in Art and Design will serve as a forum for expert inquiry and debate on the PhD degree in the creative arts, in design and in the interdisciplinary field of artscience.
Leonardo, Feb 1, 1999
Synesthesia is a brain anomaly in which the real information of one sense is accompanied by the p... more Synesthesia is a brain anomaly in which the real information of one sense is accompanied by the perceptionregarded by the synesthete as realof another sense. I believe that this condition is similar to the phenomenon of absolute pitch [1] in that some people are born ...
For over twenty years I have been occupied with the translation of music into sets of visual lang... more For over twenty years I have been occupied with the translation of music into sets of visual languages. This continuing evolution of language systems was needed in order to express the growing number of sound situations created by composers in the twentieth century. The latter part of that century demanded a flexible expansion of parameters because of increasingly complex patterns. It was natural that I would find myself wanting to move from two dimensions into three because this move carried an exponential increase in the number of systems available for possible manipulation while translating the different structural elements within a musical performance.
ABSTRACT Jack Ox is the visual artist half of a collaborative team consisting of herself and Davi... more ABSTRACT Jack Ox is the visual artist half of a collaborative team consisting of herself and David Britton, programmer. She will talk about the development of their virtual reality immersive project called The 21st C. Virtual Color Organ The Organ is an instrument which can visualize ...
IEEE MultiMedia, Jul 1, 2000
T he 21st Century Virtual Reality Color Organ is a computational system for translating musical c... more T he 21st Century Virtual Reality Color Organ is a computational system for translating musical compositions into visual performance. It uses supercomputing power to produce 3D visual images and sound from Musical Instrument Digital Interface (MIDI) files and can play a variety of compositions. Performances take place in interactive, immersive, virtual reality environments such as the Cave Automatic Virtual Environment (CAVE), VisionDome, or Immersadesk. Because it's a 3D immersive world, the Color Organ is also a place-that is, a performance space. We are the principals of the Organ project and have collaborated with a growing list of contributors from both industry and high-performance computing universities (see the "Acknowledgments" section for more information). Britton handles the graphics programming and the metaarchitecture of the programming structure (see the sidebar "The Technology Behind the Color Organ"), while Ox contributes the concept, visual images, musical analysis, visualization systems, and texture maps. This interactive instrument consists of three basic parts:
ABSTRACT Jack Ox is the visual artist half of a collaborative team consisting of herself and Davi... more ABSTRACT Jack Ox is the visual artist half of a collaborative team consisting of herself and David Britton, programmer. She will talk about the development of their virtual reality immersive project called The 21st C. Virtual Color Organ The Organ is an instrument which can visualize ...
Springer series on cultural computing, 2018
Gridjam, a performance instrument, visualized real-time in the Virtual Color Organ, was developed... more Gridjam, a performance instrument, visualized real-time in the Virtual Color Organ, was developed and transformed through collaboration and new technology during a fifteen year process. The artist’s collaboration with scientists demonstrated that this project can show the potential of packet-less, global, direct connections. This article describes the origins of the Gridjam in the Virtual Color Organ and envisages its performance in a future environment.
IS&T International Symposium on Electronic Imaging Science and Technology, Feb 14, 2016
Color is an ecologically organized, dynamic system. Each object inside the category (or domain) o... more Color is an ecologically organized, dynamic system. Each object inside the category (or domain) of color carries attributes, including image schemas. Image schemas are dynamic patterns, often connected to objects that emerge from embodied experiences; these are essential to the process of abstract conceptualization and reasoning. How image schemas manifest themselves is described in the section on the interaction of color, which focuses on the Bauhaus painter, Josef Albers. The concept of color as a category is important; we categorize in order to construct thoughts. Even infants categorize; one cannot engage in intelligent thought and action without this capacity. Categories consist of entities that share similarities in varying degrees. The psychologist, Eleanor Rosch, approached and qualified color as a natural category. Berlin and Kay, started the Universalist, evolutionary view of color categorization in 1969, and anthropologists have added to this tradition ever since. This paper shows examples of color mappings that can be described accurately and clearly using the language and thinking of conceptual metaphor theory. To this end I chose a particular path through the domain of color: Goethe,
Leonardo Music Journal, 1993
_ Thomson, 17ze Last Garcfen, intermedia performance combining experimental _ movement, music, vi... more _ Thomson, 17ze Last Garcfen, intermedia performance combining experimental _ movement, music, video, visual design and technology, 1993. This work uses two _ interactive computer-music systems, a virtual stage set created by three channels = _ of interactive laser video disc, one channel of prerecorded video and MIDI_ = controlled stage lighting to address the impact of humankind on the land and of
Leonardo, Mar 7, 2016
Design encompasses a flexible set of ideas that occur naturally across multiple domains. Richard ... more Design encompasses a flexible set of ideas that occur naturally across multiple domains. Richard Buchanan describes the trajectory of design over the 20th century. Design began as trade and slowly attained the status of a profession. Later, it became a field for technical research. It has shifted at last to what Buchanan describes as the “liberal art of technical culture.” As liberal arts developed over the 19th century, subject matter divided into the compartmentalized arenas of knowledge that we see in our universities today. A narrow focus offers advantages in research with many disciplines, particularly in the natural sciences and mathematics. Despite this benefit, the compartmentalized and divided disciplines of the modern university create problems when scholars and scientists must understand the complexities of human action in the world. The problem of specialization also calls for integrative disciplines---disciplines that require conceptual processes to bridge such separate fields as art, mathematics, natural science and social science. We control each of these domains through algorithms that we create and apply in different ways [1].
When does visualization/perceptualization not work at all? How does one define success in this en... more When does visualization/perceptualization not work at all? How does one define success in this enterprise? Suppose you take perfectly good data recorded from a phenomenon and your product fails to differentiate between different examples of that category of phenomenon? That ...
This is a film about Jack Ox's visualization of Kurt Schwitters' Ursonate. Jacki Apple directed a... more This is a film about Jack Ox's visualization of Kurt Schwitters' Ursonate. Jacki Apple directed and wrote it- and it is a learning tool about all of the above.
peter beyls coming full circle, 2019
I am to write about the relationship between Peter Beyls' hand performing an algorithmic process ... more I am to write about the relationship between Peter Beyls' hand performing an algorithmic process as it visually outlines the algorithms growing in his garden. In order to accomplish this task I must first define algorithm and then show how we think with our hands, thereby digitally performing algorithms. And by digitally, I am referring to the fingers attached to a human hand. Beyls has done different kinds of works that utilize different programming structures. For this essay I will be describing and referring to a package of coding he goes back to often, one that amazingly gets very close to producing drawings in the range of his hand drawn garden algorithms, a program he calls Sketches.
Gridjam, a performance instrument, visualized real-time in the Virtual Color Organ, was developed... more Gridjam, a performance instrument, visualized real-time in the Virtual Color Organ, was developed and transformed through collaboration and new technology during a fifteen year process. This international performance of specially composed music performed by six physically separated musicians, reached the place where all of the people and venues were on board and is yet to be fully realised. The artist's collaboration with the scientists involved demonstrated that this project can show the potential of packet-less, global, direct connections. This article describes the origins of the Gridjam in the Virtual Color Organ and envisages its performance in a future environment. Collaboration Why is collaboration such an important part of the new century in art and technology creative work? With increased use of specialized, complex technology it is far less productive to be an artist delivering a monologue alone in the studio. We need each other in many different ways, and the reasons to work together are often the result of collaborative energy. When working together in the same physical lab or space with other artists, ideas spring up like seedlings and all work seems to send out projectiles of collaborative antennae. Before I joined the COSTART project at C&CRS Loughborough, I had realized that my time of production using only studio assistants had come to an end. In the beginning, the Color Organ project was named after Quanta and Hymn to Matter, which was also the name of the music that I was planning to produce in the CAVE. David Britton, 1 who turned out to be my first
I Quaderni del CIRM n.2, 2023
The cognitive unconscious is now a fundamental fact in all varieties of cognitive science. For co... more The cognitive unconscious is now a fundamental fact in all varieties of
cognitive science. For cognitive scientists today, unconscious thought is
at least 95% of all thinking (Lakoff, Johnson 1999, p. 4). If it is true that
thought is mo tly unconscious, and we use metaphors to think unconsciously, how much better could our results be if we learn to use these
newly conscious practices with mindful intent? This paper will outline the
process I used to map the elements of conceptual metaphor and blending
theories into a three-dimensional taxonomy that exhibits possible relationships and functions between the individual components through spatial placement and type sizes. Then, I identified existing manifestations
of each concept in the taxonomy and extracted the processes used in the
found examples.
"I Quaderni del CIRM" n.2
ISBN: 978-88-9295-683-4
Publish Date: Apr 2023
N° of pages: 244
Language: Italian, English and French
Format: 17 x 24 cm
Contributions by: Giovanni Bottiroli, Cecilia Boggio, Irene De Felice, Chiara Fedriani, Eleonora Fois, Andrew James, Jagoda Jedrzejczyk, Diana Movsisyan, Xiao Liu, Jack Ox, Jodi L. Sandford, Michel Florent Georges Wauthion, Yelena Yerznkyan