Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)
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Recently several attempts were undertaken to unite the field of metaphor studies, trying to reconcile the conceptual/cognition and linguistic/discourse approaches to metaphor (Hampe, 2017b). The dynamic view of metaphor espoused by amongst others Gibbs (2017a) as a way to unify the field of metaphor studies is said to converge on findings and theoretical predictions found in cognition and discourse approaches. The author argues this focus on dynamical models to explain the multi-scale socio-cognitive aspects of metaphor as an emergent phenomenon is not robust enough. Complexity and dynamical systems are merely a modelling technique to deploy theory for empirical testing of hypotheses; a dynamic view of metaphor needs a coherent background theory to base its dynamic modelling of metaphor in action on (Chemero, 2009). I argue that it can be successfully based on the ecological-enactive framework available within the modern paradigm of 4E cognitive science. This framework makes possible explanation of both 'lower' cognition and 'higher' cognition emerging in the interaction of an organism with its environment. In addition, I sketch how recent theoretical insights from ecological-enactivism (Baggs and Chemero, 2018) concerning Gibson's notion of environment apply to the attempted unification of the field of metaphor studies. I close by suggesting how an understanding of metaphor as an ecological affordance of the socio-cultural environment can provide a rich basis for empirical hypotheses within a dynamical science of metaphor.
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This investigation explores relations between 1) a theory of human cognition, called Embodied Cognition, 2) the design of interactive systems and 3) the practice of ‘creative group meetings’ (of which the so-called ‘brainstorm’ is perhaps the best-known example). The investigation is one of Research-through-Design (Overbeeke et al., 2006). This means that, together with students and external stakeholders, I designed two interactive prototypes. Both systems contain a ‘mix’ of both physical and digital forms. Both are designed to be tools in creative meeting sessions, or brainstorms. The tools are meant to form a natural, element in the physical meeting space. The function of these devices is to support the formation of shared insight: that is, the tools should support the process by which participants together, during the activity, get a better grip on the design challenge that they are faced with. Over a series of iterations I reflected on the design process and outcome, and investigated how users interacted with the prototypes.
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