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Brain In The Flesh Annotated Bibliography

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Andrieu, B. Brains in the Flesh: Prospects for a Neurophenomenology. Retrieved from http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.583.2401&rep=rep1&type=pdf
The article talks about Neuroscience and the relations between phenomenology and the neurosciences which is focused on the question of the “cognitive body.” The source will help in explaining how light when in interaction with the visual neurons is what makes humans see. That would be helpful in the Neuroscience side of the research and how this could influence the way Architecture is designed.
Dale Hollingsworth, C. (2005). Martin Heidegger 's phenomenology and the science of mind. Louisiana State University. Retrieved from http://etd.lsu.edu/docs/available/etd-04152005-085655/unrestricted/Hollingsworth_thesis …show more content…

Shadows can be used for the recovery of spatial arrangement, especially when it is in motion. This will help how shadows can be used within a space by understanding how shadows work to benefit the project.
Owen, T. (2013). Phenomenology, Poetics, and Architectural Custodianship. Arch.ksu.edu. Retrieved 24 April 2017, from http://www.arch.ksu.edu/seamon/Owen_wint_2012.htm
The article is about Architects like, Tadao Ando and Peter Zumthor. It explains ideas of these two architects about how phenomenology was implemented into their designs. Examples of case studies are given to show these examples of phenomenology like the Karsamaki Church by OOPEAA in which light is emitted throughout the church from the top. This source is very helpful, because it gives ideas in how to incorporate light into my studio project as part of my research in this class.
Robbins, B. (2013). Neurophenomenology and Its Applications to Psychology - Saybrook University. Saybrook University. Retrieved 24 April 2017, from …show more content…

Shadows creates patterns and adds a different dimension to the spaces. Louis Kahn was known for using shadows evoke a certain mood. The darkness of a shadow is linked to the mystery and uncertainty of a space. This helps, because it’ll help me understand the different ways in which shadows are used in architecture which will help discover new ways to explore the concept of using shadows.
Theory of Phenomenology: Analyzing Substance, Application, and Influence. (2017). The University Of Kansas.
The article is about how phenomenology has demonstrated that through of space, material, and light and shadow it creates a memorable encounter in Architecture through an impact on the human senses. This will help further my research as it includes case studies of Architects and how they used light, shadow and darkness into their designs which would enrich the overall project.
Yorgancioglu, D. (2004). Steven Holl: A Translation of Phenomenological Philosophy Into the Realm of Architecture, 113. Retrieved from

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When humans are surrounded in an endless chasm of darkness, they find it necessary to grasp onto whatever dim hope may be near them. They find it necessary to set their minds onto a mission or action, however feasible or relevant, and turn all thoughts away from death or despair. Light and dark are words commonly thrown about, usually to describe gradients of color. But humans need light in the sense of comfort, a way out, or the promise of salvation. They have to find this light in life, to turn away from the darkness.

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The Architectural Fantasy by Hubert Robert is an oil painting created in 1802. For an architectural painting, is displays much emotion through the use of color, line, and light. The painting does not utilize a multitude of colors but still is able to provide an exciting scene. Although it does not appear to be that large in the gallery, the work would actually be prominent if it were a standalone piece. The artist’s use of perspective, light, and color give the overall composition a balanced look.

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These shadows include people, animals and many other things. One day, one of the cave dwellers gets free and is able figure out what is casting the shadows and discovers that those things are much more beautiful and more defined than the shadows he had known his whole life. Once he discovers this, he tries to go back to the people in the cave and explain it to them, but they are content with the shadows and kill the man. This story explains the struggle that philosophers must go through in the eyes of

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An example of shadow being used is when Joe got home to Max; Norma’s butler, former director, and ex-husband, in the garage when he pulled in. Max always had a mysterious trait so with the shadow covering almost half of his face with the high-contrast light it created a suspicious scene. An example of a close-up shot is the final scene. Norma is descending from the grand staircase in her home towards what she believes to be movie camera in a slow motion. As she walks down, she says “I’m ready for my close-up” although, the shot isn’t even a close-up, it’s a medium shot that fades into a black end screen.

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Shadows As a child we often due not think of death as something that will impact our day to day lives. Sure, information of the concept of death is present but frankly, our understanding of death is not completely developed until it actually happens to directly affect us. Similar to the cave presented in Plato’s, Allegory of the Cave, we are enclosed in our own happy, childish world where nothing matters except what who is going to be the it during a game of tag in the yard.

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In the essay, “A Literature of Place”, by Barry Lopez focuses on the topic of human relationships with nature. He believes human imagination is shaped by the architectures it encounters within life. Lopez first starts his essay with the statement that geography is a shaping force for humans. This shaping force is what creates our imagination; the shaping force is found within nature. Everything humans see within nature is remembered, thus creating new ideas and thoughts for our imagination.

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In fact, in 1940s, the main reason for using shadows was that directors must make usable some pieces that does not require a payment (“Kyo Sasaki”, 2016). Lighting and shadowing becomes the main factors in this manner. Most people scared what they cannot see in the shadow or darkness. Hence, directors use this human belief and they hide the criminal in the shadow, and eventually in these kind of films, director lead people to believe there are more details besides what we see in the screen. As a part of mis-en-scene, music can be used to emphasizes that upcoming criminal

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Conclusion: The mind is substantively different from the body and indeed matter in general. Because in this conception the mind is substantively distinct from the body it becomes plausible for us to doubt the intuitive connection between mind and body. Indeed there are many aspects of the external world that do not appear to have minds and yet appear none the less real in spite of this for example mountains, sticks or lamps, given this we can begin to rationalize that perhaps minds can exist without bodies, and we only lack the capacity to perceive them.

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Nagel contributes to the mind-body dualism by posing challenges to faulty reductive theories by discussing the importance of the consideration of subjectivity. He is entitled to the assumptions he makes because reductionism overlooks the gap between the subjective and the objective. Further exploring such gap can signify the creation of new methods that invoke the objective as well as the subjective. As of now the call for innovative approaches to understand the consciousness are essential to better understand our species and others

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Darkness can be a comfortable place for anyone. Without having to look at yourself or have people see you, one may not feel as judged or insecure. Light is revealing. In a bright room, you can’t hide tears, blemishes, or emotions. Blanche, from A Streetcar Named Desire, knows the pain of light all to well.

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He says that they see shadows. This is his illustration. The way that we can apply it is, to detainment facilities and different things that need different methods for support. You can likewise apply this in different social orders in today's time. In addition, another example of a rhetorical

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The camera obscura, which is latin for dark room, was not the first creation with the same idea. It is essential that one understands projection, shadow, and light, without the knowledge about

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In the architectural realm these nonvisual experiences become important in how our space is perceived, how it makes people feel and even perform. The scale of architecture in relation to the person, the sensation a hand feels while touching a handrail, or the sound a person makes on the building as they walk: all of these

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