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@@ -47,7 +47,7 @@
 OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
 OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE." />
 <link id="faviconLink" rel="shortcut icon" href="favicon.ico">
-<title>Noa's Idea Journal ꩟ — 1807 ideas and counting! </title>
+<title>Noa's Idea Journal ꩟ — 1808 ideas and counting! </title>
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@@ -2825,6 +2825,8 @@
 
 <li>Draft of 'Humanism'</li>
 
+<li>Draft of 'New Tiddler 12'</li>
+
 <li>Draft of 'New Tiddler 3'</li>
 
 <li>Draft of 'NotesFromVirtueEducation'</li>
@@ -6459,8 +6461,6 @@
 
 <li>New Tiddler 11</li>
 
-<li>New Tiddler 13</li>
-
 <li>New Tiddler 2</li>
 
 <li>New Tiddler 3</li>
@@ -8355,6 +8355,8 @@
 
 <li>semantic knowledge</li>
 
+<li>Semantic syntax of the icon. /SEMIOTICS OF THE ICON/ B. A. Uspensky 1995</li>
+
 <li>semantics</li>
 
 <li>semiotics</li>
@@ -10634,7 +10636,7 @@
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-{"title":"$:/StoryList","created":"20241216011425544","text":"","list":"[[New Tiddler 13]] [[Courier 1986]] [[Lotman Conversations on Russian Culture 1986]] [[Roman Jakobson LINGUISTICS AND POETICS Structuralism: \"for\" and \"against\". Moscow, 1975]] [[Gasparov \"Meter and Meaning\" 1958]] [[Vrubel Seated Demon and Symbolism]] $:/core/ui/SideBar/Recent","modified":"20241216175212724"},
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+{"created":"20241216182407212","text":"09/12/24 Bakhtin Problems of Dostoevsky's Poetics. Chapter Four. Genre and Plot-Compositional Features of Dostoevsky's Works.\n\nBakhtin traced the literary tradition that was carried to Dostoevsky's novels - the carnival genre - and its development in the form of Socratic dialogue, Menippean satire and the adventure genre. When Bakhtin discussed Socratic dialogue and Menippean satire, we saw that from the very beginning, we will find in carnival literature the fundamental aspects of polyphony: \"provocation and testing of truth\" ideas that live through people (\"hero-ideologist\"), and a cacophony of simultaneous overlapping and contradictory ideas (\"the world in reverse\"). Bakhtin wrote that \"the ancient menippea does not yet know polyphony\" and \"in essence, all the features of the menippea (of course, with the corresponding modifications and complications) we will find in Dostoevsky.\" But what are these modifications and complications? Could we discuss this? For example, Bakhtin claimed that the Socratic dialogue is syncretic. There is a conclusion. (I do not think that I completely agree. Many dialogues will end with \"aporia.\") But he did not say whether the Menippean satire is syncretic. I am also interested in talking about the connections between what Bakhtin wrote here and semiotics and formalism. As for semiotics, the clearest connection is \"Carnival developed a whole language of symbolic concrete-sensory forms - from large and complex mass actions to individual carnival gestures.\" But more generally, I am interested in the extent to which Bakhtin would agree with a semiotic reading of genres. Are genres defined by their \"signifieds\" and \"signifiers\"? Tynyanov literary evolution\nAs for Formalism, what is the difference between the central role that Bakhtin gave to historical tendencies when he explained Dostoevsky's works and the formalist study of historical tendencies in art? Is it that Bakhtin is simply more interested in the man - Dostoevsky - and his contribution than the Forsalists would be? Also, I was thinking about defamiliarization when I read \"This is a special manifestation of the carnival category of eccentricity, a violation of the usual and accepted, a life brought out on its usual track.\" Is it true that I see defamiliarization in the carnival?","draft.title":"New Tiddler 12","tags":"","title":"Draft of 'New Tiddler 12'","draft.of":"New Tiddler 12","modified":"20241216182421942"},
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@@ -13637,7 +13640,6 @@
 {"title":"New Tiddler 1","text":"","created":"20230505145859143","modified":"20230505145901022","tags":"","tmap.id":"0e178596-c1c7-4bce-bfbc-8a5bf134e4ea"},
 {"created":"20241025125911482","text":"Testing testing October 25","tags":"","title":"New Tiddler 10","modified":"20241025125925652"},
 {"created":"20241202160010286","text":" Inspirational affective neuroscience\n\n* temporal dynamics of emotions \n* representations in mind brain and body\n* emotion regulation\n\nJames-Lange theory: feelings and emotions are secondary to physiological responses. \nCannon-Bard theory: physiological and emotional responses are simultaneous. Coordinated by thalamus\nschachter-Singer theory. Bodily states must be accompanied by cognitive appraisal for an emotion to occur\n\n\nBasic emotion theory: emphasis on representation. Ekman seven basic emotions. Horikawa et al 2020 decoding emotional states from fmri. Distributed across brain regions. \n\nPsychological construct theory: constructed from few dimensions: valence and arrousal and now also motivation intensity. Nonlinear chaos theory models of affective trajectories. \n ","tags":"","title":"New Tiddler 11","modified":"20241202165945708"},
-{"created":"20241216180442142","text":"(google translated from my Russian) [[Russian thought with Elena]]\n\n6/11/24\n\nSemantic syntax of the icon. /SEMIOTICS OF THE ICON/ B. A. Uspensky 1995\n\"Right\" and \"left\" in iconographic depiction / Collection of articles on secondary modeling systems. Tartu, 1973.\n\nUspensky described three points of view in his two chapters: the viewer's point of view, the artist's point of view, and Christ's or the saints'. As in the staging of a play, the main ideas in icons are all placed to be visible and clear to the viewer - the saints hold books so that we can read, not the person who writes, scenes that take place inside buildings are depicted from the outside with the building as a backdrop. Uspensky wrote that artists use a semiotic method to depict the main figures. Uspensky emphasized the accidental and non-semiotic role of the artist's point of view: \"the spatial and temporal positions chosen by the artist, who is as uninvolved in the world depicted as the viewer, are necessarily accidental.\" We see the artist's point of view in the non-essential elements of the scene, for which the geometric rules of perspective take precedence over semantic meaning. Finally, when we speak of the \"right\" and \"left\" sides of an icon, we speak from the point of view of Christ or the saints in the icon, not from the natural point of view of the viewer.\n\nI want to talk more about how these three points of view relate to semiotic communication. If communication is fundamentally about how to translate ideas between points of view, and semiotics is about communication, what do the three points of view in an icon mean? Should we think of these three points of view as three different semiotic languages? How does the fact that there are three languages ​​make communication more difficult or easier? Who communicates with whom in icons?\n\n\"The above can be expressed in another way: by stating that the two types of summation noted above are manifested in the ancient icon depending on the semantic importance of the depicted. In relation to semantically less important objects, the first method of summation is applied, i.e. here the artist is active, and the viewer is offered the results of the artist's active perception of space; at the same time, in relation to semantically more important figures, it is not the artist who is active, but the viewer who is allowed to sum them up into a single compositional whole.\"\n\n\"We can say, therefore, that we are talking not only about different methods of depiction, but also about the opposite meaning of the same methods in old and new art.\"\n\nsee also [[perspective]] in Chinese Brush Painting [[Art of the East: China. Autumn 2024]]","tags":"","title":"New Tiddler 13","modified":"20241216182400759"},
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@@ -14585,6 +14587,7 @@
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 {"title":"semantic knowledge","text":"semantic knowledge has been purged of specifics about the context you learned it. Ex: we don't remember the name of the person who first said the word \"dog\" to us --[[cognitive models 2023]]","created":"20230501184914932","modified":"20230501185000796","tmap.id":"965a47e6-cd91-4057-9625-0e8ac6af66fc"},
+{"created":"20241216180442142","text":"(google translated from my Russian) [[Russian thought with Elena]]\n\n6/11/24\n\nSemantic syntax of the icon. /SEMIOTICS OF THE ICON/ B. A. Uspensky 1995\n\"Right\" and \"left\" in iconographic depiction / Collection of articles on secondary modeling systems. Tartu, 1973.\n\nUspensky described three points of view in his two chapters: the viewer's point of view, the artist's point of view, and Christ's or the saints'. As in the staging of a play, the main ideas in icons are all placed to be visible and clear to the viewer - the saints hold books so that we can read, not the person who writes, scenes that take place inside buildings are depicted from the outside with the building as a backdrop. Uspensky wrote that artists use a semiotic method to depict the main figures. Uspensky emphasized the accidental and non-semiotic role of the artist's point of view: \"the spatial and temporal positions chosen by the artist, who is as uninvolved in the world depicted as the viewer, are necessarily accidental.\" We see the artist's point of view in the non-essential elements of the scene, for which the geometric rules of perspective take precedence over semantic meaning. Finally, when we speak of the \"right\" and \"left\" sides of an icon, we speak from the point of view of Christ or the saints in the icon, not from the natural point of view of the viewer.\n\nI want to talk more about how these three points of view relate to semiotic communication. If communication is fundamentally about how to translate ideas between points of view, and semiotics is about communication, what do the three points of view in an icon mean? Should we think of these three points of view as three different semiotic languages? How does the fact that there are three languages ​​make communication more difficult or easier? Who communicates with whom in icons?\n\n\"The above can be expressed in another way: by stating that the two types of summation noted above are manifested in the ancient icon depending on the semantic importance of the depicted. In relation to semantically less important objects, the first method of summation is applied, i.e. here the artist is active, and the viewer is offered the results of the artist's active perception of space; at the same time, in relation to semantically more important figures, it is not the artist who is active, but the viewer who is allowed to sum them up into a single compositional whole.\"\n\n\"We can say, therefore, that we are talking not only about different methods of depiction, but also about the opposite meaning of the same methods in old and new art.\"\n\nsee also [[perspective]] in Chinese Brush Painting [[Art of the East: China. Autumn 2024]]","tags":"","title":"Semantic syntax of the icon. /SEMIOTICS OF THE ICON/ B. A. Uspensky 1995","modified":"20241216182436061"},
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