Second-order cybernetics
Second-order cybernetics, also known as the cybernetics of cybernetics, investigates the construction of models of cybernetic systems. It investigates cybernetics with awareness that the investigators are part of the system, and of the importance of self-referentiality, self-organizing, the subject–object problem, etc. Investigators of a system can never see how it works by standing outside it because the investigators are always engaged cybernetically with the system being observed; that is, when investigators observe a system, they affect and are affected by it. Overview[edit] The anthropologists Gregory Bateson and Margaret Mead contrasted first and second-order cybernetics with this diagram in an interview in 1973.[1] It emphasizes the requirement for a possibly constructivist participant observer in the second order case: . . . essentially your ecosystem, your organism-plus-environment, is to be considered as a single circuit.[1] See also[edit] Gyroteleostasis References[edit]
Myers–Briggs Type Indicator
Model of personality types A chart with descriptions of each Myers–Briggs personality type and the four dichotomies central to the theory. In personality typology, the Myers–Briggs Type Indicator (MBTI) is an introspective self-report questionnaire indicating differing psychological preferences in how people perceive the world and make decisions. The MBTI was constructed by two Americans: Katharine Cook Briggs and her daughter Isabel Briggs Myers, who were inspired by the book Psychological Types by Swiss psychiatrist Carl Jung. History[edit] Briggs began her research into personality in 1917. After the English translation of Carl Jung's book Psychological Types was published in 1923 (first published in German in 1921), Briggs recognized that Jung's theory was similar to, but went far beyond, her own. Myers' work attracted the attention of Henry Chauncey, head of the Educational Testing Service. Format and administration[edit] Also included is a composite of these called "strain".
Ideasthesia
Idea in psychology Example of associations between graphemes and colors that are described more accurately as ideasthesia than as synesthesia Ideasthesia (alternative spelling ideaesthesia) is a neuropsychological phenomenon in which activations of concepts (inducers) evoke perception-like sensory experiences (concurrents). The name comes from the Ancient Greek ἰδέα (idéa) and αἴσθησις (aísthēsis), meaning "sensing concepts" or "sensing ideas". The notion was introduced by neuroscientist Danko Nikolić as an alternative explanation for a set of phenomena traditionally covered by synesthesia.[1] Research has later extended the concept to topics other than synesthesia, and since it turned out to be applicable to everyday perception, the concept has developed into a theory of how we perceive. Examples and evidence[edit] A drawing by a synesthete which illustrates time unit-space synesthesia/ideasthesia. In normal perception[edit] Which one would be called Bouba and which Kiki? See also[edit]
Porphyrian tree
Porphyry's Isagoge was originally written in Greek, but was translated into Latin in the early 6th century CE by Boethius. Translations by Boethius became the standard philosophical logic textbook in the Middle Ages,[2] and theories of categories based on Porphyry's work were still being taught to students of logic until the late 19th century. History[edit] Thus, the notion of the Porphyrian tree as an actual diagram comes later than Porphyry himself. Example[edit] The following Porphyrian tree consists of three columns of words; the middlemost (in boldface) contains the series of genera and species, and we can take it as analogous to the trunk of a tree. The diagram shows the highest genus to be substance. Now that we have seen body as a species of substance, we treat body as a genus itself. Beneath human, however, there are no further species. See also[edit] Notes[edit] References[edit] Further reading[edit] Sources Studies External links[edit]
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Clavier à lumières
The clavier à lumières ("keyboard with lights"), or tastiera per luce, as it appears in the score, was a musical instrument invented by Alexander Scriabin for use in his work Prometheus: Poem of Fire. However, only one version of this instrument was constructed, for the performance of Prometheus: Poem of Fire in New York City in 1915.[1] The instrument was supposed to be a keyboard, with notes corresponding to colors as given by Scriabin's synesthetic system, specified in the score,[2] However, numerous synesthesia researchers have cast doubt on the claim that Scriabin was a synesthete.[3][4][5][6] The "Luce" part is notated on a treble staff with two parts, one proceeding on the circle of fifths during the piece, the other following the tonal centre of the music.[clarification needed] Scriabin assigned the following colors to the following key areas:[citation needed] Keys rearranged into a circle of fifths in order to show the spectral relationship. See also[edit] References[edit]
Spacetime
Mathematical model combining space and time Until the turn of the 20th century, the assumption had been that the three-dimensional geometry of the universe (its description in terms of locations, shapes, distances, and directions) was distinct from time (the measurement of when events occur within the universe). However, space and time took on new meanings with the Lorentz transformation and special theory of relativity. In 1908, Hermann Minkowski presented a geometric interpretation of special relativity that fused time and the three spatial dimensions of space into a single four-dimensional continuum now known as Minkowski space. This interpretation proved vital to the general theory of relativity, wherein spacetime is curved by mass and energy. Fundamentals[edit] Definitions[edit] In ordinary space, a position is specified by three numbers, known as dimensions. The path of a particle through spacetime can be considered to be a succession of events. History[edit] Figure 1-2. Henri Poincaré
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