Cognition is predominantly seen as information processing in multidisciplinary landscape of cognition studies, despite having had a formidable opposition from embodied and embedded perspectives in the last few decades. This paper analyses cognitive processes involved in different task domains of Kashmiri carpet weaving practice from the theoretical frameworks of cognitivism and situated-distributed cognition. After introducing the practice and its task domains (Section −1), paradigmatic cognitive activities involved in them are discussed and how these are explained by the two theoretical paradigms (...) and why the latter framework explains these processes better (Section-2). During this discussion (Section – 3), a way via culture impacts the practice and resultant cognitive operations turns out to be workspace of the actors. (shrink)

This article describes various ways actors in Kashmiri carpet weaving practice deploy a range of artifacts, from symbolic, to material, to hybrid, in order to achieve diverse cognitive accomplishments in their particular task domains: information representation, inter and intra-domain communication, distribution of cognitive labor across people and time, coordination of team activities, and carrying of cultural heritage. In this repertoire, some artifacts position themselves as naïve tools in the actors’ environment to the point of being ignored; however, their usage-in-context unfolds (...) their cognitive involvement in the tasks. These usages-in-context are shown through artifact analysis of their routine, improvised, and opportunistic uses, where cognitive artifacts like talim—the central artifact of this practice—are shown to play not only multifunctional roles beyond representation, but are also complemented by trade-specific skills bearing strong cognitive implications in a task. (shrink)

The design process in Kashmiri carpet weaving is a distributed process encompassing a number of actors and artifacts. These include a designer called naqash who creates the design on graphs, and a coder called talim-guru who encodes that design in a specific notation called talim which is deciphered and interpreted by the weavers to weave the design. The technological interventions over the years have influenced these artifacts considerably and triggered major changes in the practice, from heralding profound cognitive accomplishments in (...) manually driven design process causing major alterations in the overall structure of the practice. The recent intervention is by the digital technology: on the one hand, it has brought precision and speedy processing in the design process, and on the other, it has eliminated some of the crucial actors from the practice. This paper, which forms part of a larger study on the situated and distributed cognitive process in Kashmiri carpet-weaving practice, describes the technological makeover of the design artifacts involved in this practice over the years and their resultant cognitive impact on the design process as well as on the practice. (shrink)

The design process in Kashmiri carpet weaving is a distributed process encompassing a number of actors and artifacts. These include a designer called naqash who creates the design on graphs, and a coder called talim-guru who encodes that design in a specific notation called talim which is deciphered and interpreted by the weavers to weave the design. The technological interventions over the years have influenced these artifacts considerably and triggered major changes in the practice, from heralding profound cognitive accomplishments in (...) manually driven design process causing major alterations in the overall structure of the practice. The recent intervention is by the digital technology: on the one hand, it has brought precision and speedy processing in the design process, and on the other, it has eliminated some of the crucial actors from the practice. This paper, which forms part of a larger study on the situated and distributed cognitive process in Kashmiri carpet-weaving practice, describes the technological makeover of the design artifacts involved in this practice over the years and their resultant cognitive impact on the design process as well as on the practice. (shrink)

Computational imagination (CI) conceives imagination as an agent’s simulated sensorimotor interaction with the environment in the absence of sensory feedback, predicting consequences based on this interaction (Marques and Holland in Neurocomputing 72:743–759, 2009). Its bedrock is the simulation hypothesis whereby imagination resembles seeing or doing something in reality as both involve similar neural structures in the brain (Hesslow in Trends Cogn Sci 6(6):242–247, 2002). This paper raises two-forked doubts: (1) neural-level equivalence is escalated to make phenomenological equivalence. Even at an (...) abstract level, many imagined and real actions turn out to be dissimilar. More so, some imagined actions have no corresponding real actions and vice versa, even though neural regions involved in imaginings and real action-perception are the same (Sect. 1). (2) At the implementation level, the hypothesis presents a mutually exclusive view of imagination and perception whereby imagination functions in the absence of the sensory feedback and is action based. Both these issues are contested here: Neither imagination functions in the absence of perception nor all forms of imaginings are action based; it is, rather, about conceiving possibilities which emerge during the perceptual stage itself (Sect. 2). For the modal aspect to arise, it is submitted that an integrative framework is required which Kant can provide for whom imagination is an indispensable part of perception. Kant’s views on concept-formation are presented here to illustrate this aspect (Sect. 3). The Paper is concluded with emphasizing the relevance of Kant’s views to the problems identified in the two sections. (shrink)

The squared paper or graphs are grid-based design representations used in engineering, industrial and craft design practices wherein designs are drawn over symmetrical grids. This paper reports grid-processing strategies undertaken by actors in a native craft practice, viz. Kashmiri carpet-weaving having three task contexts: (1) _design_, wherein designs are drawn on graph sheets and color scheme given by assigning practice-specific symbolic codes to the motifs by designers; (2) _coding_, wherein a cryptic script, called _talim_, is generated from these encoded graphs (...) by talim-writers; and (3) _weaving_, wherein this script is read, decoded and communicated in an equally cryptic trade-language by weavers among their teams. 32 video-recorded think-aloud sessions were conducted with talim-writers to understand their graph-processing and resultant coding strategies. The observations and qualitative analysis of transcripts revealed highly _situated_ strategies undertaken by experts keen on imbibing visuality of design embedded in the grids, in contrast to _embodied_ strategies undertaken by less-experienced coders keen on processing grids’ structural features and getting overwhelmed by grid-clutter in the process. In this landscape, the findings revealed a negotiated nature of errors instead of being deviations from the underlying grid and thereby objectively assessable. The paper makes recommendations for CAD systems to include more of those grid features exploited by experts during their graph processing to facilitate designers. (shrink)

The design process in Kashmiri carpet weaving is distributed over a number of actors and artifacts and is mediated by a weaving notation called talim. The script encodes entire design in practice-specific symbols. This encoded script is decoded and interpreted via design-specific conventions by weavers to weave the design embedded in it. The cognitive properties of this notational system are described in the paper employing cognitive dimensions (CDs) framework of Green (People and computers, Cambridge University Press, Cambridge, 1989) and Blackwell (...) et al. (Cognitive technology: instruments of mind—CT 2001, LNAI 2117, Springer, Berlin, 2001). After introduction to the practice, the design process is described in ‘The design process’ section which includes coding and decoding of talim. In ‘Cognitive dimensions of talim’ section, after briefly discussing CDs framework, the specific cognitive dimensions possessed by talim are described in detail. (shrink)

India and the Heartlands: An Eighteenth-Century World of Circulation and Exchange. By Gagan D. S. Sood. Cambridge: Cambridge University Press, 2016. Pp. xvii + 338. $99.99, £64.99.