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2020 | Buch

Multiple Intelligences Kapitel lesen Erstes Kapitel lesen

Graphic Intelligence

Drawing and Cognition

verfasst von: Prof. Enrico Cicalò

Verlag: Springer International Publishing

Buchreihe : SpringerBriefs in Applied Sciences and Technology

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

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Über dieses Buch

This book demonstrates and discusses the hypothesis that, within the theory of multiple intelligences, graphic intelligence can be isolated and defined as the ability to use graphic skills to solve problems and create products through the integration and coordination of eye, mind and hand, that is, visual perception, thought and graphic representation. Since it is essential to the development of thought in various disciplinary and professional fields, graphic intelligence is considered an intellectual skill that needs to be taught not only in specialist training, but also in general training and at all levels of education, from pre- and primary school to higher education. The book discusses the role of graphic intelligence within the design, scientific, artistic, education and communication disciplines, highlighting how graphic skills are fundamental to enhancing cognitive and imaginative abilities in all areas of training and professional knowledge.

Inhaltsverzeichnis

Frontmatter
Chapter 1. Multiple Intelligences
Abstract
In the book Frames of Mind: The Theory of Multiple Intelligence (Gardner in Frames of Mind: The Theory of Multiple Intelligence. Basic Books, New York, 1983), Howard Gardner—Professor of Cognitive Sciences at Harvard University—defines intelligence as the ability to solve problems or create valued products within a cultural context. When talking about intelligence, Gardner does not attribute a particular positive quality to the word intelligence, even though in our culture it has a decidedly positive connotation. His idea of intelligence is rather closer to the concept of ‘potential’ than to that of ‘talent’.
Enrico Cicalò
Chapter 2. Graphic Skills
Abstract
In discussing the different forms of intelligence, the different meanings of the terms ‘visual’ and ‘graphic’ have so far been highlighted. In the light of these different meanings, this chapter is dedicated to the exploration of graphic skills with the aim of emphasizing more the aspects related to the coding of the message rather than those related to decoding, on which studies on ‘visual communication’ are more oriented.
Enrico Cicalò
Chapter 3. Graphic Intelligence
Abstract
As we have introduced in previous chapters, Gardner seems to open the way for the definition and deepening of that graphic intelligence. Graphic intelligence requires all the forms of intelligence already illustrated in the previous paragraphs and belonging to the large family of visual-spatial skills.
Enrico Cicalò
Chapter 4. Graphic Intelligence in Scientific Investigation
Abstract
In this chapter is presented and discussed the hypothesis of a particular form of intelligence, in the context of the theories on the multiple intelligences: the graphic intelligence, intended as the capacity to use the drawing skills and, more generally, the ability to integrate the use of eye, mind and hand to solve problems and to create effective products aimed to acquiring new knowledge.
Enrico Cicalò
Chapter 5. Designing by Graphic Intelligence
Abstract
The concept of graphic intelligence is certainly nothing new for those who are used to using this form of intelligence daily within their professions. Architects, engineers and, more generally, designers base their entire work activity on graphic thought, that form of thought that involves the hand, the eye and the brain in the elaboration and communication of design ideas (Gardner in Frames of mind: the theory of multiple intelligence. Basic Books, New York, 1983).
Enrico Cicalò
Chapter 6. Storytelling with Graphic Intelligence
Abstract
The previously illustrated relationship between graphic intelligence and design, in the broadest sense of the term, may appear as something peculiar and confined to well-defined disciplinary and professional fields. This aspect should not deceive. Designers are educated to graphically translate their ideas in order to make them visible, communicable and therefore feasible. Analyzing the process of ideation of other types of design, it is clear that in reality it is not a question of disciplinary and design areas but of graphic intelligence.
Enrico Cicalò
Chapter 7. Learning by Graphic Intelligence
Abstract
In this chapter is discussed the relationships between drawing and cognition starting from the concept of graphic intelligence, and going beyond the classic approach, widely deepened in the literature from the field of clinical neuropsychology, linked to a concept of drawing as a tool for the evaluation of the cerebral connections functionalities in cases of particular disabilities. Instead, this article analyzes the relationships between drawing and cognition focusing on learning processes. Therefore, drawing is considered not only as a product with which to interpret the psychological, bodily-kinesthetic and cognitive spheres of the individual but also as a tool for stimulating the development of such spheres.
Enrico Cicalò
Chapter 8. Educating Graphic Intelligence
Abstract
This chapter discusses the concept of graphic intelligence intended as the ability to use graphic skills in order to solve problems and to generate new knowledge in educational curricula. Thinking of drawing as graphic intelligence, supporting the empowerment of the cognitive and imaginative skills beyond the traditional fields of art and design can strengthen the role of drawing in learning paths at each level. Starting from a reflection on the different forms of intelligence involved in the act of drawing, the chapter will discuss the relationship between the improvement of visual and graphic skills and, above all, the importance of developing both within the various formative paths, respecting the differences in terms of meanings, methods and objectives.
Enrico Cicalò
Chapter 9. Conclusions
Abstract
In the last decades, visual media have become the main form of communication in a contemporary technological society (Bertoline 1998). In the light of this central role that visual communication takes on, it is necessary to rethink graphic-visual skills in the formation of the individual, not only in relation to the exercise of specific professions but more generally in relation to individual intellectual capacity.
Enrico Cicalò
Metadaten
Titel
Graphic Intelligence
verfasst von
Prof. Enrico Cicalò
Copyright-Jahr
2020
Electronic ISBN
978-3-030-45244-5
Print ISBN
978-3-030-45243-8
DOI
https://doi.org/10.1007/978-3-030-45244-5

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