theory 
(
800) Narrative is a fundamental means through which people live their lives
(
781) Communication codes are learnt and culturally defined
(
747) Law as a discourse framed by the world that it inhabits and creates
(
721) Images do not embody information about their use
(
690) The Reflective Practitioner: Choreography As Research In An Intercultural Context
(
687) Frayling: into, through and for art and design
(
641) Inside Out - Issues of interpretation in virtual heritage
(
640) Barthes: Death of the Author
(
617) Reflexive Modernisation: knowledgeable subjects able to reflect on their social conditions
(
587) Spectacle as Show - not an inferior part of tradegy
(
580) changing our footing in talk
(
579) Ernest Boyers: Priorities of the Professoriate
(
576) bystandering as a footing position
(
573) Thick Conceptions of Practice: cognitive skills that give rise to contextualised beliefs
(
560) topography of action: to rise above or drop below a field of experience
(
539) ICT-Based Learning Environments: transmission or active exploration?
(
536) discussion about culture anticipates and disseminates culture
(
532) Types of Research in the Creative Arts and Design
(
527) Bernstein: Horizontal Discourse and Vertical Discourses
(
521) Design scholarship as an alternative form of research grounded in practice
(
510) Self-Reflexivity: the natural sciences versus the human sciences
(
495) A Depiction Of The Process Of Picture Making: Emergence Of A Meta-Subject
(481) Clive Wearing: procedural and declarative memories
http://folksonomy.org.uk/?s=481
Utterance:
Clive Wearing, also indicates a distinction between procedural and declarative memories. Clive was a famous musician prior to suffering a rare brain infection in 1985. The virus destroyed a large part of his brain and he only retained a 'moment to moment' memory. However, some of the procedural memories that he had previously stored were intact. For example, if you were to ask him if he could play the piano (declarative knowledge) he would answer 'no', but when he sits down at the piano he can in fact play his procedural memory is not affected.
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©Jim Krikava (International School Of Prague)
Image: , (). . Prague, Czech Republic: Jim Krikava []
(
477) Constructivism and Online Education
(
459) coalescing in the act of interpretation
(
449) Wittgenstein's picture theory of meaning
(
448) Differ
ance: formation of form
(
447) Interaction Design: university & applied research centres
(
426) Gestell: enframing and converting everything encountered
(
413) Empiricism: failing to secure contingency
(
406) post-traditional order contesting the hierarchy of legitimacy
(
397) Reflexive Modernisation: Beyond Modernism & Postmodernism
(
360) the mirror is both a utopia and a heterotopia
(
344) Francis Bacon: misconceptions in the discovery of causes
(
322) Sapir-Whorf Hypothesis
(
205) Donald Schön: The Reflective Practitioner Model
(
195) archaeology-poem: multiple registers
(
203) Julia Kristeva: The Abject
(
193) Defamiliarization and Making Strange
(
191) suture: revelation of constructed nature
(
178) insurrection of subjugated knowledges
(
168) Donna Haraway: situated knowledges
(
161) Historical Revisionism
(
146) every utterance generates a response
(
149) freemason: secular architect shaping the world
(
150) freemason: utopic representations of an orderly society
(
151) freemason: Solomon's Temple - classical order
(
154) heteroglossia: multilanguagedness
(
131) contingent product of contingently existing forces
(
92) authenticity: authority of the object
(
80) tends to perfection: nature
(
63) information is a commodity and is properly controlled by market forces?
(
61) Diachronic and synchronic
(
3) Walter Benjamin: das passagen-werk / the arcades project
(
38) Michel Foucault: Heterotopia
(
40) Kevin Hetherington: Heterotopia & Social Ordering
(
44) Henri Bergson: Tendencies and Composites
(
45) readerly texts and writerly texts
(
48) Deleuzian Memory of Sans Soleil
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