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Improving problem-solving skills through Logo programming language

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Pardamean B., Suparyanto T., Evelyn
The New Educational Review
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2015
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vol. 41
52-64
EN
The effect of Logo programming language on problem solving skills was investigated in this study. Eighty-five fifth-grade students were assigned to either an experimental or control Logo group. They were pre-tested to assess baseline receptiveness to figural and logical word problem-solving skills. After eight weeks of learning, the Logo experimental group had significantly higher scores than the control group on the problem-solving skills tests (assessing both figural and logical word problem-solving skills). The result revealed significant differences in the figural problem-solving skill between the Logo experimental and control groups. An implication was that Logo programming exercised skills are more critical and relevant to the figural problem-solving skill. Possible alternative explanations and suggestions are provided for future research endeavors.
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Between images and fromages: Lyotard on Painting’s Critical Force

86%
Schollenberger P.
Eidos. A Journal for Philosophy of Culture
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2019
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vol. 3
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issue 4(10)
32-43
EN
In this essay I want to focus on Jean-François Lyotard’s interpretation of Marcel Duchamp’s “The Large Glass” which I confront with Duchamp’s idea of pictorial nominalism. I invoke the main thesis from Lyotard’s important essay “Freud selon Cézanne,” to draw a line between Lyotard’s analysis of artistic experience of space in Cézanne’s work and the topological conceptuality traced by Lyotard in spatial relations within Duchamp’s “The Large Glass.” I want to show that the concept of “transformation” that is introduced in Lyotard’s interpretation of Duchamp’s works, operates within certain spatial analysis which lays the foundations for philosophical analysis in situ, or, as Lyotard writes, “topological politics.” For Lyotard this is the exact context to proceed the meditation of transformational potential hidden within the idea of presentation and representation of the space that becomes visible when one starts to notice incongruences as well as congruences.
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IT’S ABOUT TIME: Trying an Essay Film

86%
Bal M.
Text Matters: A Journal of Literature, Theory and Culture
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2020
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issue 10
27-48
EN
This essay is about the essay, a form (as Adorno called it) of thought alive that is partial in the two senses of the word: subjective and fragmented. Thinking as social, performative, and always un-finished; as dialogic. Through the mythical figure of Cassandra, who could foresee the future but was cursed to be never believed, I tried to “figure,” make a figural shape for the thoughts on the indifference of people towards the imminent ecological disaster of the world. At the invitation of Jakub Mikurda of the Łódź Film School to come and make an essay film, within one week, but with the participation of many great professionals, I was able to create, at least in the first draft, the essay film IT’S ABOUT TIME! The ambiguity of the title suggests the bringing together of my thoughts about time, in relation to history in its interrelation with the present, and, as the exclamation mark intimates, the urgency to do something. The former is enacted by a tableau vivant of Cassandra’s lover Aeneas as Caravaggio’s John the Baptist, with a contemporary painting by David Reed shifting over it; and by interactions with two paintings by Ina van Zyl. The urgency is presented in many of the dialogues, quoted from various sources, especially Christa Wolf’s novel Cassandra. I argue that “thinking in film,” with film as a medium for thought, is what the essay film’s foremost vocation is. Through a reflection on “thought-images,” which I see as the result of “image-thinking,” I also argue for the intellectual gain to be had from “essaying” thought artistically.
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