Professional Documents
Culture Documents
communication
exemplified by calligraphy works
Various versions of (dragon), Compilation of Cursive Characters, authored by Shi Liang of the Qing Dynasty, scan by K.C.Tang http://upload.wikimedia.org/wikipedia/commons/4/48/Cursiv e_characters_dragon.jpg
Communication
Luhmann describes communication explicitly as the unity of information, utterance [message, Mitteilung], and expectation of understanding. More specifically, communication arises through a synthesis of three different selections, namely, selection of information, selection of utterance of this information, and a selective understanding or misunderstanding of this utterance and its information. A helpful bridge is Luhmann's understanding of information: once information is expressed it is no longer information per se; it has exhausted itself. Though, this "automatic mechanism does not exclude the possibility of repetition." Repetition itself is a form of meta-information that can be interpreted as information indicating the value and validity of the repeated (now) non-information. Recipients repeatedly view certain programs. In terms of system theory, Niklas Luhmann describes familiarity as a genuinely human means for reducing systemic complexity: "Familiarity ... enables relative secure anticipations and thus absorbs remaining risks ..." James Carey argues that the ritual view focuses on the communication of this meta-information of commonality, instead of novelty. A lot of communication will typically take place on the level of meta-communication, i.e. communication about communication. In meta-communication one communicates not only about a particular content but also about the effect that a communication has, in other words about what difference the particular communication makes, and about how it communicates. Stefan Arteni, Writing Systems, Art, Communication III http://www.scribd.com/doc/34988821/StefanArteni-WritingSystems-Art-Communication-3
A flower opens into five petals (Hamamura) Seido Giyu 1869-1935 Rinzai http://web.kyoto-inet.or.jp/org/jikyuan/9380.html
A flower opens into five petals. (Miyazaki) Sengai Ekiho 1901-2008 Soto http://web.kyotoinet.or.jp/org/jikyuan/9392.html
The contribution of ethology: primacy of utterance (form) Advertisement and persuasion are phenomena that game theoreticians have had problems explainingAdvertisement works because of the design of our brains. There are empirical psychological data showing that humans like other animals are sensitive to the form of signals and not just to the information they conveySome of the qualities found in ritualized biological signals, such as large size, frequent repetition, symmetry, elaborate ornamentation and mimicry, also appear in human advertisement Spectacular cultural phenomena can evolve that convey little meaningful information, but still have strong impact on spectators Magnus Enquist, Anthony Arak, Stefano Ghirlanda, and Carl-Adam Wachtmeister, Spectacular phenomena and limits to rationality in genetic and cultural evolution, Philosophical transactions of the Royal Society of London. Series B, Biological sciences 357(1427):1585-94, 2002 Nov 29, http://rstb.royalsocietypublishing.org/content/357/1427/1585.long in Stefan Arteni, Writing Systems, Art, Communication III http://www.scribd.com/doc/34988821/StefanArteni-WritingSystems-Art-Communication-3
The contribution of evolutionary game(s) theory graphical signs that evolve within a community offer distinct advantages when compared with those that locally develop In particular, the meaning associated with a particular sign is more accessible for a subsequent generation of sign learnersBut what about the global evolution unique to the community signs? In a group context, signs need to be effective both in terms of communicative fitness within each pair of the group and in terms of transmission fitness for other group members. Our results indicate that communities achieve this by developing increasingly simple signs, but nevertheless signs that retain sufficient residual iconicity to be easily recognizedand learnedby new members of the population from which the community was drawn. So, in both community and isolated pair conditions, graphical signs evolve functionally, becoming progressively refined and therefore more efficiently produced and decoded by interlocutors. However, only community evolved signs exhibit learning and decoding benefits for persons not actively engaged in sign construction. As these benefits are unanticipated (i.e. the signs are not designed with an external audience in mind), sign fitness is a functional by-product of adaptation in the community condition. Nicolas Fay, Simon Garrod and Leo Roberts, The fitness and functionality of culturally evolved communication systems, http://rstb.royalsocietypublishing.org/content/363/1509/3553.full.pdf in Stefan Arteni, Writing Systems, Art, Communication III http://www.scribd.com/doc/34988821/StefanArteni-WritingSystems-Art-Communication-3
Graphical productions that evolve within the simulated community provide a substantial processing advantage when compared with designed or locally developed representations. Thus, conventional graphical representations constitute higher order cognitions, the whole being greater than the sum of its parts... Like the present day Chinese character for mountaincommunity representations retain a degree of iconicity, i.e. once told what a drawing represents it can be seen as such. Again, like the Chinese character, community drawings exhibit a degree of schematization that makes them easily differentiable Nicolas Fay, Simon Garrod, Tracy McLeod,, John Lee and Jon Oberlander, Design, Adaptation and Convention: The Emergence of Higher Order Graphical Representations http://www.cogsci.northwestern.edu/cogsci2004/papers/paper513.pdf
Mountain. The blue mountain is the father of white clouds Inzan Ien 1754-1817 Rinzai http://web.kyoto-inet.or.jp/org/jikyu-an/9494.html
Behavioural Implicit Communication (BIC) Skills demonstration in learning, exams, and tests When Y is teaching something to X via example or explanation and observes Xs behavior or product to see whether X has learned or not, then Xs performance is not only aimed at producing a given practical result but is (also or mainly) aimed at showing the acquired abilities to Y (or to other observers). This is true for any exam and test: the behavior or product under examination is a BIC. Notice that in teaching by example and showing (based on imitation) also the behavior of the teacher is a BIC; its message is: look, this is how you should do. More in general, if showing and exhibiting are intentional acts they are always communication acts. Showing for imitation is just one use of showing. Thus we have several possible BIC messages in imitation based transmission: The models message - just vehicled by his showing: observe! And do as I do, in such and such a way. The imitators message - just vehicled by her doing: look, Im doing like you; is this correct? The models confirmation - just vehicled by the act of looking and saying nothing: yes, it is OK.It is well known that this kind of teaching is essential for several forms of procedural implicit knowledge that cannot be fully expressed in words and cannot be learned by reading; like techniques, art craft abilities, sport, dance, and so on. You have to observe and repeat, observe and repeat. Cristiano Castelfranchi http://www.academia.edu/1521699/IMITATION_and_BIC-final
Stigmergy Stigmergy is just a sub-case of BIC, since in fact any BIC is based on the perception of an action that necessarily means the perception of some trace of that action in the environment (for example air vibrations). We restrict stigmergy to a special form of BIC where the addressee does not perceive the behavior (during its performance) but perceives other post-hoc traces and outcomes of it. To be true, perceiving behavior is always perceiving traces and environmental modifications due to it; the distinction is just a matter of perception time and of duration of the trace. The only difference is that when we refer to communicating via traces we have in mind more long term traces that persist also when the author is no longer there: the receiver observes the trace while he could not observe the author performing the action. Cristiano Castelfranchi http://www.academia.edu/559230/SILENT_AGENTS_From_Observation_to_Tacit_Com munication
Torei Enji 17211792 http://ww w.bachma nneckens tein.com/ exhibition s/2013/As ia_Week_ New_York /images/2 242%20( 2).JPG
Shoraku http://www.zengalerie.de/html/bujishoraku.html
Yamamoto Gempo 1866-1961 (bowl) and Nakagawa Soen (box) http://www.robynbuntin.com/ItemDetail.aspx?ProductID=15702 #.UZWTDaI3vfc
http://www.spoontamago.com/wpcontent/uploads/2013/09/yuichi_nr_66088_700.jpg
Inoue Yuichi
http://www.artnet.com/artwork/42 6276471/117109/inoue-yuichi-yuichi-yume--dream.html
Every day is a good day Yamada Mumon 1900-1988 Rinzai http://aucoeurduzen.blogspot.com/ 2011_04_01_archive.html
Goto Zuigan 1879-1965 Rinzai http://brucek ennedyphoto s.zenfolio.co m/img/s1/v2 1/p10444269 66-3.jpg
Kamijo Shinzan
Ci Xi http://english.cguardian.c om/categories/cpc/201209-03/12119.html
A fierce tiger roars in the moonlight (Hioki) Ishitsu Mokusen 1837-1920 Soto http://web.kyotoinet.or.jp/org/jikyu-an/8908.html
Suzuki Hoitsu b 1939 Soto http://www.zenguide.de/zen/malerei/id/ 571&titel=%2B%234084 5%3B%2B%2312288% 3B%2B%2321535%3B %2B%2338642%3B%2 B%2336215%3B%2B% 2334382%3B%2B%232 2063%3B%2B%233908 0%3B%2B%2329983% 3B+Ry%FBgin+zurebak u+mo+okori
Cave of the Blue Dragon Uozumi Keizan http://www.britishmuseum.org/r esearch/collection_online/colle ction_object_details.aspx?obje ctId=790612&partId=1