9/12/2023 0 Comments Origami sailboat![]() ![]() The boats should last in water for at least 10 minutes before they get waterlogged. But since they’re made out of paper, they can really only go in the water once. I show the analogy is promising once we abandon presuppositions about how science stands for knowledge.Yes! These boats will float in water. Instead of "writing" I talk of science, and instead of "intellect" I talk of (extended) cognition. I generalize Goody's idea following an analogy. ![]() ![]() Goody shows how written formulations of codes or norms encourage its generalization, specialization and tailoring for very specific contexts (trade law, for example) and above all, its transportability to new contexts. Literary traditions allow the development of more complex organizations than what is possible without writing, organizations that acquire a certain independence of their own associated often with the custodianship of the books and the preservation of the structure of norms associated with such writings. Thus norms and standards become abstract representations of different more concrete norms. Writing allows for ideas and norms to be “fixed” (to a text), to have generalizing power, that is, the capacity to be applied to new and diverse situations. Jack Goody is famous for the thesis that writing is “the technology of the intellect.” The idea is simple and powerful. Meanwhile, the paper offers relevant methods of introducing future generations to the study of architecture. The detected findings of this paper could help those involve in teaching architecture to either young learners or junior students of architecture in stimulating collaborative architecture learning environments. ![]() To achieve the aim of the workshop the constructivism design studio environment was applied as a major component for learning architecture. The targeted youth audience represented a population not likely to consider the study of architecture and that was a relevant factor in the workshop creation. This workshop simulated the real-life architecture experience to two different age groups of young learners: kids from 7-10 years old and teens from 11-17 years old. The workshop took place in the Faculty of Engineering at Ain Shams University, Egypt as a part of a department of Architecture activity week in the year 2013. This paper aims at presenting the lessons learned during the planning, initiation and execution of an experimental youth workshop named ""How to make your own Dream House?". This suggests that when the people represented are not involved in the writing process, the national story dramatically influences the ways in which the characters are written. Interviews and reflection on instances of cultural misappropriation produced a story that began to counter to this narrative. It suggests that prior to interviews and self-reflection, the writing followed the dominant narrative told about refugees, referred to here as ‘the national story’ (Birch 2013), which played up victimhood and played down racism. This paper compares the first two drafts of the manuscript. The first was produced through fieldwork and observation, the second after interviews and the third through feedback. In order to explore this concept, I wrote a novel manuscript about the everyday lives of four characters from refugee backgrounds in three drafts. A look into how novels of this kind are written can contribute to the debate of writing the other. But there is little work on the difference between stories that have been constructed with consultation of the people represented and those that have not. At the same time, writing that explores the migration story of people from refugee backgrounds, written by writers from those backgrounds as well as writers who have not had those experiences, has become increasingly more common (see Menchu 1984 Nazer & Lewis 2003 Eggers 2006 Cleave 2008 de Kretser 2012 Al Muderis & Weaver 2014). This can be seen as a kind of ventriloquism (Couser 1998), stereotypical and racist characterisation (Leane 2016), and lead to further oppression since the privileged person is the one who speaks rather than the group represented (Alcoff 1991). There has been increasing criticism of mainstream writers who create characters from marginalised cultural backgrounds different to their own, especially when those characters are written from the first-person perspective. ![]()
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