Mind in Motion

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Mind in Motion Page 37

by Barbara Tversky


  Cohn, N. (2013). The visual language of comics. London, England: Bloomsbury.

  Eisner, W. (2008). Graphic storytelling and visual narrative. New York, NY: W. W. Norton.

  Eisner, W. (2008). Comics and sequential art: Principles and practices from the legendary cartoonist. New York, NY: W. W. Norton.

  Groensteen, T. (2007). The system of comics. Translated by B. Beaty & N. Nguyen. Jackson: University Press of Mississippi.

  McCloud, S. (1993). Understanding comics. New York, NY: William Morrow Paperbacks.

  Spiegelman, A. (2011). MetaMaus. New York, NY: Pantheon.

  Spiegelman, A. (2013). Co-Mix: A retrospective of comics, graphics, and scraps. Montreal, Canada: Drawn and Quarterly.

  Picture remembered better than words

  Paivio, A. (1991). Dual coding theory: Retrospect and current status. Canadian Journal of Psychology/Revue canadienne de psychologie, 45(3), 255.

  Explosion of emojis and GIFs

  I am indebted to Oren Tversky for this example.

  Clarke, T. (2018, October 5). 24+ Instagram statistics that matter to marketers in 2019. Hootsuite. Retrieved from https://blog.hootsuite.com/instagram-statistics/

  Dua, T. (2015). Emojis by the numbers: A Digiday data dump. Retrieved from https://digiday.com/marketing/digiday-guide-things-emoji/

  Konrad, A. (2016). Giphy passes 100 million daily users who send 1 billion GIFs each day, reveals GV as investor. Forbes. Retrieved from https://www.forbes.com/sites/alexkonrad/2016/10/26/giphy-passes-100-million-users-reveals-gv-as-investor/#2273a37f4d64

  Freytag-Aristotelian narrative arc

  Freytag, G. (1863). Die Technik des Dramas.

  Structure of boxes and speech balloons in comics

  Groensteen, T. (2007). The system of comics. Translated by B. Beaty & N. Nguyen. Jackson: University Press of Mississippi.

  Adding information to words and images

  Clark, H. H. (1975). Bridging. In Proceedings of the 1975 Workshop on Theoretical Issues in Natural Language Processing (pp. 169–174). Cambridge, MA: Association for Computational Linguistics.

  Intraub, H., Bender, R. S., & Mangels, J. A. (1992). Looking at pictures but remembering scenes. Journal of Experimental Psychology: Learning, Memory, and Cognition, 18(1), 180.

  Segmenting events and stories

  McCloud, S. (1993). Understanding comics. New York, NY: William Morrow Paperbacks.

  Tversky, B. and Zacks, J. M. (2013). Event perception. In D. Riesberg (Ed.), Oxford handbook of cognitive psychology (pp. 83–94). Oxford, England: Oxford University Press.

  Zacks, J. M. (2014). Flicker: Your brain on movies. New York, NY: Oxford University Press.

  Culture and language affect creation of comics

  Tversky, B. & Chow, T. (2017). Language and culture in visual narratives. Cognitive Semiotics, 10(2), 77–89.

  CHAPTER NINE: CONVERSATIONS WITH A PAGE: DESIGN, SCIENCE, AND ART

  Picasso and Braque quotes

  Georges Braque. (n.d.). Retrieved from https://en.wikiquote.org/wiki/Georges_Braque

  Interview with Gaston Diehl. (1945). Les Problèmes de la Peinture. Paris, France.

  Picasso, P., & Fraisse, G. (1999). Conversations with Picasso. Chicago, IL: University of Chicago Press.

  Da Vinci’s life and oeuvre

  Kemp, M. (2005). Leonardo. Oxford, England: Oxford University Press.

  Advantages of ambiguity

  Tversky, B. (2015). On abstraction and ambiguity. In J. Gero (Ed.), Studying visual and spatial reasoning for design (pp. 215–223). New York, NY: Springer.

  Da Vinci’s designs

  Gopnik, A. (2005, January 17). Renaissance man: The life of Leonardo. The New Yorker.

  Isaacson, W. (2017). Leonardo da Vinci. New York, NY: Simon & Schuster.

  Kemp, M. (2005). Leonardo. Oxford, England: Oxford University Press.

  Kemp, M. (2006). Seen/unseen: Art, science, and intuition from Leonardo to the Hubble telescope. Oxford, England: Oxford University Press.

  Rosand, D. (2002). Drawing acts: Studies in graphic expression and representation. Cambridge, England: Cambridge University Press.

  Wikipedia. (n.d.). Vebjørn Sand Da Vinci Project. Retrieved from https://en.wikipedia.org/wiki/Vebj%C3%B8rn_Sand_Da_Vinci_Project

  Gemma Anderson’s collaborations with scientists

  Anderson, G. (2017). Drawing as a way of knowing in art and science. Bristol, England: Intellect Limited.

  Creating visual explanations improves STEM understanding

  Bobek, E., & Tversky, B. (2016). Creating visual explanations improves learning. Cognitive Research: Principles and Implications, 1(1), 27.

  Diagramming in active STEM laboratories

  Burnston, D. C., Sheredos, B., Abrahamsen, A., & Bechtel, W. (2014). Scientists’ use of diagrams in developing mechanistic explanations: A case study from chronobiology. Pragmatics & Cognition, 22(2), 224–243.

  WORGODS: WORking Group on Diagrams in Science. (n.d.). Diagrams in science. Retrieved from http://mechanism.ucsd.edu/WORGODS/index.html

  Architects make discoveries in their own sketches

  Goldschmidt, G. (1991). The dialectics of sketching. Creativity Research Journal, 4(2), 123–143.

  Goldschmidt, G. (2014). Linkography: Unfolding the design process. Cambridge, MA: MIT Press.

  Schön, D. A. (1987). Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. San Francisco, CA: Jossey-Bass.

  Suwa, M., & Tversky, B. (1997). What do architects and students perceive in their design sketches? A protocol analysis. Design Studies, 18(4), 385–403.

  Expertise in finding new ideas from sketches

  Ericsson, K. A., Hoffman, R. R., Kozbelt, A., & Williams, A. M. (Eds.). (2018). The Cambridge handbook of expertise and expert performance. Cambridge, England: Cambridge University Press.

  Ericsson, K. A., & Smith, J. (Eds.). (1991). Toward a general theory of expertise: Prospects and limits. Cambridge, England: Cambridge University Press.

  Suwa, M., & Tversky, B. (1997). What do architects and students perceive in their design sketches? A protocol analysis. Design Studies, 18(4), 385–403.

  How designers and ordinary people find new ideas in sketches

  Suwa, M., & Tversky, B. (1996). What architects see in their sketches: Implications for design tools. Conference Companion on Human Factors in Computing Systems (pp. 191–192). Vancouver, BC, Canada: ACM. doi:10.1145/257089.257255

  Suwa, M., & Tversky, B. (1997). What do architects and students perceive in their sketches? A protocol analysis. Design Studies, 18(4), 385–403.

  Suwa, M., & Tversky, B. (2002). How do designers shift their focus of attention in their own sketches? In M. Anderson, B. Meyer, & P. Olivier (Eds.), Diagrammatic representation and reasoning (pp. 241–254). London, England: Springer.

  Tversky, B., & Suwa, M. (2009). Thinking with sketches. In A. B. Markman & K. L. Wood (Eds.), Tools for innovation: The science behind the practical methods that drive new ideas. New York, NY: Oxford University Press.

  Effective strategy: Reorganizing parts

  Suwa, M., Tversky, B., Gero, J., & Purcell, T. (2001). Seeing into sketches: Regrouping parts encourages new interpretations. In J. S. Gero, B. Tversky, & T. Purcell (Eds.), Visual and spatial reasoning in design (pp. 207–219). Sydney, Australia: Key Centre of Design Computing and Cognition.

  Constructive perception

  Suwa, M., & Tversky, B. (2003). Constructive perception: A metacognitive skill for coordinating perception and conception. Proceedings of the Annual Meeting of the Cognitive Science Society, 25(25).

  Tversky, B., & Suwa, M. (2009). Thinking with sketches. In A. B. Markman & K. L. Wood (Eds.), Tools for innovation: The science behind the practical methods that drive new ideas. New York, NY: Oxford University Press.

  Creativity: Finding new ideas

  Chou, J. Y., & Tversky, B. (n.d.). Top-down strategies outperform bottom-up strategies for finding new interpretations. Unpublish
ed manuscript.

  Tversky, B. (2015). On abstraction and ambiguity. In J. Gero (Ed.), Studying Visual and Spatial Reasoning for Design Creativity (pp. 215–223). Dordrecht, the Netherlands: Springer.

  Tversky, B., & Chou, J. Y. (2011). Creativity: Depth and breadth. In T. Taura & Y. Nagai (Eds.), Design Creativity 2010 (pp. 209–214). London, England: Springer.

  Zahner, D., Nickerson, J. V., Tversky, B., Corter, J. E., & Ma, J. (2010). A fix for fixation? Rerepresenting and abstracting as creative processes in the design of information systems. AI EDAM, 24(2), 231–244.

  Mind wandering

  Baird, B., Smallwood, J., Mrazek, M. D., Kam, J. W., Franklin, M. S., & Schooler, J. W. (2012). Inspired by distraction: Mind wandering facilitates creative incubation. Psychological Science, 23(10), 1117–1122.

  Christoff, K., Gordon, A. M., Smallwood, J., Smith, R., & Schooler, J. W. (2009). Experience sampling during fMRI reveals default network and executive system contributions to mind wandering. Proceedings of the National Academy of Sciences, 106(21), 8719–8724.

  Mrazek, M. D., Smallwood, J., & Schooler, J. W. (2012). Mindfulness and mind-wandering: Finding convergence through opposing constructs. Emotion, 12(3), 442.

  Architects as pastry chefs

  A new school of pastry chefs got its start in architecture. (2018, January 24). New York Times. Retrieved from https://www.nytimes.com/2018/01/23/dining/pastry-chefs-architecture.html

  Paradigm shifts

  Kuhn, T. S. (2012). The structure of scientific revolutions. Chicago, IL: University of Chicago Press.

  Shifting perspective leads to discoveries

  Mukherjee, S. (2017, September 11). Cancer’s invasion equation. The New Yorker. Retrieved from https://www.newyorker.com/magazine/2017/09/11/cancers-invasion-equation

  Shifting perspective improves forecasting

  Mellers, B., Stone, E., Murray, T., Minster, A., Rohrbaugh, N., Bishop, M.,… Ungar, L. (2015). Identifying and cultivating superforecasters as a method of improving probabilistic predictions. Perspectives on Psychological Science, 10(3), 267–281.

  Tetlock, P. E. (2017). Expert political judgment: How good is it? How can we know? Princeton, NJ: Princeton University Press.

  Tetlock, P. E., & Gardner, D. (2016). Superforecasting: The art and science of prediction. New York, NY: Random House.

  Improving predictions

  Schwartz, T. (2018, May 9). What it takes to think deeply about complex problems. Harvard Business Review. Retrieved from https://hbr.org/2018/05/what-it-takes-to-think-deeply-about-complex-problems

  How experienced artists create

  Kantrowitz, A. (2018). What artists do (and say) when they draw. In J. M. Zacks & H. A. Taylor (Eds.), Representations in mind and world: Essays inspired by Barbara Tversky (pp. 209–220). New York, NY: Routledge.

  CHAPTER TEN: THE WORLD IS A DIAGRAM

  Moving farther in space enables moving up economically

  Rosling, H., Rönnlund, A. R., & Rosling, O. (2018). Factfulness: Ten reasons we’re wrong about the world—and why things are better than you think. New York, NY: Flatiron Books.

  Cultural transmission in apes is by imitation, not by teaching

  Whiten, A., Horner, V., & De Waal, F. B. (2005). Conformity to cultural norms of tool use in chimpanzees. Nature, 437(7059), 737.

  Gesture important in human cultural transmission

  Legare, C. H. (2017). Cumulative cultural learning: Development and diversity. Proceedings of the National Academy of Sciences, 114(30), 7877–7883.

  Little, E. E., Carver, L. J., & Legare, C. H. (2016). Cultural variation in triadic infant–caregiver object exploration. Child Development, 87(4), 1130–1145.

  Laws (norms) on the streets

  Moroni, S., & Lorini, G. (2017). Graphic rules in planning: A critical exploration of normative drawings starting from zoning maps and form-based codes. Planning Theory, 16(3), 318–338.

  Index

  absolute reference frame, 151

  abstract geometric ideas, 156–157

  abstract thought, 14, 36, 57, 59, 71–74, 79, 87, 115, 118, 119, 121, 122, 125, 128, 130, 142, 153, 156, 157, 160, 163, 165, 172–175, 180, 181, 185, 187, 195, 203, 207–210, 220, 224, 227, 250, 258, 263, 274, 277, 284–288

  abstraction

  created by actions in space, 277

  creative thinking, 263

  diagrams, 288

  forced by drawing, 258

  gestures, 115, 130, 284–285, 288

  graphics and, 284–285

  ordering and, 163, 175

  possibilities left open by, 258

  spatial forms and patterns, 286

  spraction, 277, 288

  tallies as, 203

  trunk and branches, 160

  words and, 142

  action(s)

  abstractions created by, 277, 288

  bodies and, 48–49

  brain affected by, 17–18

  in comics, 246

  continuum from perception to action, 105–106

  dynamics and, 132–133

  enhancements of, 282

  events distinguished from, 216

  as foundation for language, 111

  gestures, 111, 115–116, 130

  on ideas, 86, 88

  intentions of, 48–49

  joint, 27–29

  perception and, 16–19, 21–23

  perspective taking and, 66

  sensation and, 16–19, 30

  in space, 115–116, 130, 277, 288

  words for, 184–185, 284–285

  addresses, 149, 151–152

  alignment, 76–77

  allocentric, 66, 69, 143, 146–149, 151, 153, 165–166, 183–184

  alphabetic languages, 194

  ambiguity, 83, 137, 142, 148, 150, 164–166, 199, 232, 263, 264–265, 267

  anaphors, 245

  animals, transitive inferences by, 173–174

  animation, mental, 97–98

  animations, educational, 235–236

  approximate number system (ANS), 174–175, 176, 177, 178, 208

  architecture, reliance on drawing, 262–264

  arithmetic operations, 206, 207

  arrows, 180, 232–235, 233 (fig.), 234 (fig.)

  art, gestures in, 140

  artists, exploration and, 274–275

  aspect-to-aspect transitions, 245

  assembly instructions, 217–220, 218 (fig.), 219 (fig.)

  asymmetric relationships, 232

  axes, 62–63

  babies, 15, 27, 31, 34, 36, 42, 132, 164, 174, 214, 279, 281

  actions, intentions, and goals, 19–21

  gestures and communication, 112–114, 117, 131

  integrating action and sensation, 16

  bar graphs, 230–231, 230 (fig.)

  baseball, catching fly balls, 97–98

  basic-level categories of scenes, 49

  basic-level categories of things, 36–39

  beat gesture, 117, 133

  biases

  approximate number system and, 176–177

  confirmation, 56–57, 273

  impeding perception and discovery, 169

  judgments and, 46–47, 73

  linear, 168–169

  perception influenced by, 55–57

  perspective taking to overcome, 273

  time and, 166, 168–169

  biomimicry, 270

  blindness, 34, 61, 113, 114, 124, 126

  bodies

  action and, 48–49

  axes of, 62–63

  in comics, 241

  coordinated actions of, 109

  coordination with others, 26–30

  emotion and, 43, 47–48

  integrating action and sensation, 16–19

  internal perspective, 10–11

  parts and, 10–16

  people, places, and things surrounding, 33–58

  understanding others’, 19–20

  words describing, 185

  body-centered framework, 66–67


  body language, 109–140

  body orientation, perspectives of, 92–94, 92 (fig.)

  body parts

  figurative extensions, 14–15

  significance versus size, 13–14

  body schema, 18–19

  body-to-body communication, 111–112

  borders, 179–180

  Borges, Jorge, 35

  bottom-up perceptual strategy, 266–267

  boundary, 179–180

  boxes, 52, 58, 86, 101, 130, 155–159, 184, 193, 215, 220, 222, 223, 226, 227, 231, 236, 238, 241, 244, 247, 250, 252–254, 278, 279, 283, 285, 286, 287

  in comics, 244, 252–254

  as containers for stuff and ideas, 155–159

  in designed world, 286–287

  labels for, 158

  organization of kinds, 158–159

  in the world and in the mind, 158–159

  brain

  action effect on, 17–18

  face recognition, 40–41

  linear conceptualizations of, 169

  maps in, 68–71

  maturation of, 34

  pruning of synapses, 15

  regions for recognizing who, what, and where, 34–35

  scene recognition and understanding, 49

  structure of, 11–13

  calculation, 177–179, 192, 205–207

  calendar perspective, 166

  calendars, 213

  cardinal directions, 74–75, 147, 151

  cardinality, 131, 205

  cartoons. See comics

  categorical thinking, 52, 53–54, 224

  categories, 43–44

  design of our world, 278–280, 286

  dimensions versus, 51–54, 58

  efficiency of, 77–78

  grouping and, 77

  hierarchies, 286

  kinds and boxes, 158–159

  spatial, 77–78

  themes and, 159

  for things, 35–39

  usefulness of, 52

  causality

  connection of event units, 216

  dynamics and, 132

  explanations, 239

  gestures and, 123

  ordering events in time, 172

  time and, 212, 214

  cave paintings, 192

  center, 156, 226

  certainty, words denoting, 181

  change, words describing, 185

  change blindness, 50–51

  chemical bonding, 260, 260 (fig.)–261 (fig.)

  children

  animacy, understanding of, 23

  connection of action and sensation, 16

 

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