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Here is oil. There, they have pigs. How can we take a piece of reality and understand it in a geometrical, mathematical way? The challenge is not losing the truth in the process! Every time I re-read it for a course, I use another pen to make notes. I began by underlining in pencil and then I go to red pen, then to blue pen, then purple pen. Eventually, I am going to have to start again. This is how I organize my research.


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I show students this method. Every week there are new reports that further illuminate the workings of our brain and move us one step closer to a better understanding of human behavior. The goal was not only to discuss the neuroscience underlying these discoveries, but also to provide an historical and personal context to the science. We evaluated the environment that produced such insights and, with a new perspective, moved forward to the present day to discuss modern approaches and theorems.

Each section of the course culminated with a visit from a current leader in the field whose research continues to advance our understanding of the brain.

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The visiting researcher lead an in-class discussion about their research, and students also got to talk with the visitor about the path they took to get to their current position. In addition, two visitors gave a public research talk as part of the Distinguished Visitors lecture series. Additionally, with generous funding from the Hurford Center for the Arts and Humanities, students visited the Franklin Institute to see the Self Reflected installation.


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  • Created by artist and neuroscientist Greg Dunn with artist and applied physicist Brian Edwards, Self Reflected [which shows the human brain in action] is the most complex piece of brain art in the world. Students took a selfie selfiewithselfreflected and blogged about their experience in the context of course themes. An outgrowth of a s initiative focused on using new technology to improve education for disabled students, UDL has grown into a framework that aims to optimize the learning experience for all individuals—disabled and nondisabled.

    IN THE GALLERY The exhibition Resistance After Nature, curated by Kendra Sullivan and Dylan Gauthier, tracks the practices of artists who imagine and construct alternative approaches to such entangled ecological, political, and economic issues as indigenous sovereignty and water rights, the fossil economy, ocean acidification, and deforestation.

    This exhibit, which runs March 17—April 28 in the Cantor Fitzgerald Gallery, brings together insurgent environmental art that proceeds from the recognition that the Earth is imperiled but the future is unwritten, and asserts that another world is possible; indeed, it is already here. We are making it together even now. Getting It Right Arrival, the intimate, humanistic science fiction film about a linguist played by Amy Adams, right learning to communicate with newly arrived aliens, garnered praise from audiences and critics alike, but we wondered how it worked as a depiction of the field study of linguistics.

    Luckily, we knew just who to ask.

    Brook Danielle Lillehaugen is an assistant professor in the Tri-Co Linguistics Department who conducts fieldwork on the endangered Zapotec languages of Mexico. She has developed the Tlacolula Valley Zapotec Talking Dictionary as an online resource, and she is part of the team preserving the now extinct dialect of Colonial Valley Zapotec via manuscripts at the Ticha Project.

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    Haverford College: In the film Louise, the linguist, communicates with the aliens via their written language, which looked like a Rorschach test. I was fascinated by the way Louise marked up their writing to decipher it. Did that look correct or believable to you? Brook Danielle Lillehaugen: Well, in fact they had a linguist do that.

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    Theological Milton: Deity, Discourse and Heresy in the Miltonic Canon.

    What we saw Louise in the film do is something very similar to what I do. HC: Is there something they got really wrong about linguistics in the film?


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    • This hypothesis, which is also sometimes called linguistic determinism or linguistic relativism, exists on a continuum. And I would say that most linguists probably are on that end of the spectrum. HC: What would you want someone who knows nothing about linguistics to take away from this film?

      Louise succeeded, in part, because she was herself and she wanted to get to know [the aliens], even to the point of naming them and caring about them. I think that really sums up a lot of what field linguists do. Read a longer version of this interview at hav. The program was a retrospective primarily of music that he wrote for the Quartetto di Venezia. The labyrinthine video installation invites the viewer to experience darkness as a space for embracing the uncertain. Pyrrhonist skepticism regards the acknowledgment of multiple interpretive possibilities as an essential step toward suspending judgment and, ultimately, reaching a state of tranquility.

      A similar practice exists in Shakespeare's sonnets, where ambiguity enables readers to accept the existence of multiple perspectives and to see the uncertainty they experience as a source of pleasure. In this way, Shakespeare diverges from the Petrarchan convention of using metaphors as a source for epistemological certainty where, for instance, the heart is visible in the eye or on the page.

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      Shakespeare deploys many such Petrarchan metaphors, but in a way that renders their meaning unstable and therefore creates uncertainty. Out of this uncertainty, generated by fragmented and conflicting metaphors, Shakespeare creates a sublime experience of the unknown, representing knowledge as both constructed and malleable. Skip to Main Content. Search in: This Journal Anywhere.

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