Knowing with New Media

 

 

Essential Ripples

Conscious thought Unconscious mind

Divergence Convergence

Individual curiosity Conventional wisdom

Human cognition Computer logic

Representing Meaning-making

Self-reflection Collaboration

Stability Plasticity

Tacit Explicit knowledge

Multimodal metaphor

In cinematic writing, metaphor – which works by explaining ‘one thing in terms of another’ (Geary, 2011, loc. 83) – is a ‘psychological tool’ (the term borrowed from Lev Vygotsky, (1934 [2012]) that mediates the self-reflective activity of the mind.  As claimed by George Lakoff & Mark Johnson (1980), metaphor is a cognitive mechanism ‘we live by’. They write: ‘[…] the way we think, what we experience, and what we do every day is very much a matter of metaphor’ (p.3).

As a psychological tool, metaphoric mapping allows the creation of associations across domains of experiences. Its instrumentality is indispensable in composing of multimodal representations. By its nature, metaphoric logic works by cross-charting disparate areas of the mind and bringing together associative particles from the diverse compartments of architectured memory. Its multimodal mediation becomes a technology congruent to cross-modal sensory associations, engaging the knower in a high-level cognitive activity. Metaphoric comprehension, in collaboration with multimodal–cinematic writing, facilitates remixing of ‘the abstract with the concrete, the physical with the psychological, the like with the unlike—and reorganises it [them] into uncommon combinations’ (Geary, 2011, loc. 70).

By framing mental grasps, through multimodal metaphoric logic, into writing with images, sounds and movements, the knower — or cinematic bricoleur — develops his/her unique individual genre of communication.

A thought is 98% unconscious (Lakoff, 2015)

conscious thought

the unconscious mind

The progression within Ripples' knowing can be explained with the metaphor of manifold. In terms of time, there is a step-by step, linear flow.
But in terms of direction, it is organised in a circular and disordered progression with the end result collapsing into one unified projection.

'Experience is a form of metaphorical motion.'

Johnson, 2018

James Geary (2011)

George Lakoff & Mark Johnson (1980)

 Lev S Vygotsky (1934)

Using the iceberg metaphor to represent a spatial relationship between conscious thought and the unconscious mind,  responsible for thought formation, helps us not only to have a better comprehension of the concept, but also facilitates its further exploration. On a metacognitive level, it opens a passage into inquiring how this metaphor shapes our understanding of thought construction.

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For example, animation and sound can be applied to the image of an iceberg that moves through the 'churning waters' depicted on the digital page. The irregular movements of the water lead to the consideration that, even though the iceberg's structures are quite rigid, they undergo continuous modifications caused by different water currents, changes of temperature and weather conditions.

This becomes a metaphor to represent the Ripples' theoretical position of continuous changes of mental structures as a result of the knower's interactions with the environment. This process evolves through the circularity of mental stability plasticity.