Review article, based on Robert Sokolowski, ‘Introduction to Phenomenology’.

The argument presented in this paper is not a direct attack or defence of the Chinese Room Argument (CRA), but relates to the premise at its heart, that syntax is not sufficient for semantics, via the closely associated propositions that semantics is not intrinsic to syntax and that syntax is not intrinsic to physics. However, in contrast to the CRA’s critique of the link between syntax and semantics, this paper will explore the associated link between syntax and physics. The main (...) argument presented here is not significantly original – it is a simple reflection upon that originally given by Hilary Putnam (Putnam 1988) and criticised by David Chalmers and others: instead of seeking to justify Putnam’s claim that, “every open system implements every Finite State Automaton (FSA)”, and hence that psychological states of the brain cannot be functional states of a computer, I will seek to establish the weaker result that, over a finite time window every open system implements the trace of a particular FSA Q, as it executes program (p) on input (x). That this result leads to panpsychism is clear as, equating Q (p, x) to a specific Strong AI program that is claimed to instantiate phenomenal states as it executes, and following Putnam’s procedure, identical computational (and ex hypothesi phenomenal) states (ubiquitous little ‘pixies’) can be found in every open physical system. (shrink)

Parallels to Shanker & King's (S&K's) proposal for a model of language teaching that values dyadic interaction have long existed in language development, for the neotenous human infant requires care, which is inherently interactive. Interaction with talking caregivers facilitates language learning. The “new” paradigm thus has a decidedly familiar look. It would be surprising if some other paradigm worked better in animals that have no evolutionary linguistic history.

Experiences of embodied remembering are familiar and diverse. We settle bodily into familiar chairs or find our way easily round familiar rooms. We inhabit our own kitchens or cars or workspaces effectively and comfortably, and feel disrupted when our habitual and accustomed objects or technologies change or break or are not available. Hearing a particular song can viscerally bring back either one conversation long ago, or just the urge to dance. Some people explicitly use their bodies to record, store, (...) or cue memories. Others can move skilfully, without stopping to think, in complex and changing environments thanks to the cumulative expertise accrued in their history of fighting fires, or dancing, or playing hockey. The forms of memory involved in these cases may be distinct, operating at different timescales and levels, and by way of different mechanisms and media, but they often cooperate in the many contexts of our practices of remembering. (shrink)

Gardens provoke thought and engagement in ways that are often overlooked. This book shines new light on long-held assumptions about gardens and proposes novel ways in which we might reconsider them. The author challenges traditional views of how we experience gardens, how we might think of gardens as works of art, and how the everyday materials of gardens – plants, light, water, earth – may become artful. -/- The author provides a detailed analysis of Tupare, a garden in New Zealand, (...) and uses it as source material for his analysis of the philosophical issues art gardens raise. His new account of gardens highlights the polymodal, multi-sensual, and improvisatory character of the garden experience, it offers an ontological comparison between gardens and humans and other animals, and it explains how identical plants, and arrangements of plants, may be mundane when encountered beyond the garden but artful, meaningful, and aesthetically valuable when experienced within it. (shrink)

The collaborative projects described in this e-book have already produced thrilling new danceworks, new technologies, and innovative experimental methods. As the papers collected here show, a further happy outcome is the emergence of intriguing and hybrid kinds of writing. Aesthetic theory, cognitive psychology, and dance criticism merge, as authors are appropriately driven more by the heterogeneous nature of their topics than by any fixed disciplinary affiliation. We can spy here the beginnings of a mixed phenomenology and ethnography of (...) class='Hi'>dance practice and choreographic cognition, which is deeply informed and empirically inspired by the best current theory in the sciences of the embodied mind [footnote 1]. These sciences must themselves increasingly deal with culture and cognition all at once: questions about pleasure in movement, habit and skill, and kinaesthetic memory, for example, require neuroscientific, physiological, psychological, sociological, and anthropological investigation simultaneously. These then are essentially collaborative enterprises, and the active interpenetration of the concerns of dance practitioners and academic researchers is one remarkable success of Unspok en Knowledges and Conceiving Connections. (shrink)

Lucas Swaine’s liberalism of conscience is at risk of failing to respect justificatory requirements of political liberalism. His theory ought to be further distinguished from the views of John Locke and John Rawls, respectively, and should be extended to engage extreme secularists as well as theocrats.

In this article, two dance educators offer a definition of rhythm from both educational and performance perspectives and discuss pedagogical practices that waken students’ awareness to rhythm as a lived-experience over which they have creative control. For the dancer, in the midst of the dance, rhythms are, in the words of Margaret H’Doubler, recurring patterns of measured energy. These patterns are nested in scales from the moment-to-moment shifts in muscular contraction and release to the rise and fall of (...) dramatic tension in a performed dance. This approach to rhythm runs counter to many dance students’ studio-based training in which rhythm is equated to synchronizing accents to a specific meter. The authors describe pedagogical practices in the studio that foster engagement with rhythm as lived-experience. Drawing attention to their kinesthetic experience while moving, students are encouraged to modulate levels of exertion embedded in the qualities of movement they are experiencing. As varying levels of exertion are attended to across temporal durations, students notice patterns as they emerge and recur. This attention to recurring patterns of measured exertion is, the authors claim, the lived-experience of rhythm in dance. (shrink)

This special issue, which includes papers first presented at two workshops on ‘Memory, Mind, and Media’ in Sydney on November 29–30 and December 2–3, 2004, showcases some of the best interdisciplinary work in philosophy and psychology by memory researchers in Australasia (and by one expatriate Australian, Robert Wilson of the University of Alberta). The papers address memory in many contexts: in dance and under hypnosis, in social groups and with siblings, in early childhood and in the laboratory. Memory is (...) taken as a test case for evaluating the optimistic vision of a new kind of cognitive science defended by Andy Clark. Clark (2001:154) argues: Much of what matters about human intelligence is hidden not in the brain, nor in the technology, but in the complex and iterated interactions and collaborations between the two ... The study of these interaction spaces is not easy, and depends both on new multidisciplinary alliances and new forms of modelling and analysis. The pay-off, however, could be spectacular: nothing less than a new kind of cognitive scientific collaboration involving neuroscience, physiology, and social, cultural, and technological studies in about equal measure. So the central motivation is to investigate critically how well the case of memory would fit the extended mind’ thesis put forward by Clark and Chalmers (Clark and Chalmers 1998; Clark 1997, 2006)—according to which mental states and processes can spread across the.. (shrink)

The children were nestled all snug in their beds.While visions of sugar-plums danced in their heads.Clement Moore's cherished ‘Twas the Night Before Christmas captures the hopes, dreams and visions...

In lieu of an abstract, here is a brief excerpt of the content:John Edward MacKinnon BORIS PASTERNAK'S CONCEPTION OF REALISM To desire truth is to desire direct contact with a piece of reality. To desire contact with a piece of reality is to love. —Simone Weil, The Needfor Roots According to czeslaw milosz, Boris Pasternak "did not pluck fruits from the tree of reason, the tree of life was enough for him. Confronted by argument, he replied with his sacred (...) dance." Pasternak's poetry, he concludes, is "antispeculative, anti-intellectual," and though he was compelled to make certain concessions in the course of writing Doctor Zhivago, speculative thought nonetheless remained for him a perennial and decided "adversary." ' However, the familiar and conveniently stark distinction between lyricist and thinker upon which such judgments depend is in fact both naive and tiresome since, plainly, creativity and reflection need in no way necessarily subvert one another. Accordingly, while it is indeed likely that the most valued feature of Pasternak's poetry and best prose is its detailed recording ofthe world's incessant change, of the magic and movement of weather and gardens, seasons and landscapes, Milosz is far from just in so readily and categorically dismissing any attribution of poetic thought to Pasternak. For as much as the whole of his poetry amounts to a celebration of life's small wonders, unrivaled in their greatness, there remains at bottom the inspiration of the thinker, of one who has seen and felt, but who at the same time has had to compile and consider in an attempt to make sense of the whole. As if in open challenge to Milosz, CM. Bowra notes that Pasternak's poetic sensibility is "both physical and intellectual." The mental states described in his poems, Bowra writes, "begin with sensations of the eye and ear but contain something else in their mental appreciation of the 211 212Philosophy and Literature situation," namely, his "gift for grasping abstract problems." 2 If Milosz remains unconvinced, and if Wladimir Weidle dismisses Pasternak's poetic thought as "puny and piteous," still more poets and critics have shared Bowra's view.3 Henry Gifford refers to Pasternak's "philosophical habit of mind," Ronald Hingley to the "pyrotechnics" ofhis "darting intellect," and Yury Lotman to his personal and "thoroughly professional philosophical culture." 4 In her review ofPasternak's My Sister, Life, meanwhile, Marina Tsvetaeva observes that "thought is what works in him, burrows in subterranean passages...." 5 And though Nadezhda Mandelstamclaims that the word of all poets "flows from a general, integrated view of the world," she acknowledges too that poets "vary in the range and depth of their understanding" and proceeds to cite Pasternak as her one example of a poet with a particularly unified worldview.6 If we were to agree with Francis Sparshott that "the fiercest hatreds spring from the closest relationships," we could assume in turn that the fundamental antagonism customarily alleged to obtain between the creative and critical faculties in fact indicates only some common, if confused, origin or inspiration.7 In creating, after all, it is predictable rather than idiosyncratic that the artist will be led to investigate the roots ofart within himself, tiiat he will be tempted by the urge to define, to entertain, that is, some rudimentary theory. And indeed, in Pasternak 's case, it is not simply a matter of his poetry and prose having been informed by certain tacit, if stray, aesthetic conceptions, but rather of his having supplemented his intensely thoughtful artwith aconcurrently developed theory. In this article, I want specifically to consider Pasternak's conception of realism, that standard of achievement which, according to his theory, constitutes the touchstone of all great art. In order more firmly to ground this notoriously vague and unwieldy notion, I will appeal not only to complementary theoretical conceptions of Pasternak's, but also to those central ideas advanced by Iris Murdoch in The Sovereignty of Good. My intention will be to locate Pasternak's brand of realism within what I take to be an identifiable tradition, or at least a conspicuous and pervasive theoretical tendency, according to which the most crucial criterion of artistic realism is judged to be not any properly physical aspect ofthe completed work, and certainly... (shrink)

A most unusual guide to the solar system, A Little Book of Coincidence suggests that there may be fundamental relationships between space, time, and life that have not yet been fully understood. From the observations of Ptolemy and Kepler to the Harmony of the Spheres and the hidden structure of the solar system, John Martineau reveals the exquisite orbital patterns of the planets and the mathematical relationships that govern them. A table shows the relative measurements of each planet in (...) eighteen categories, and three pages show the beautiful dance patterns of thirty six pairs of planets and moons. (shrink)

ABSTRACT I begin by considering the nature of philosophy understood as a genre of writing. I claim that genres are impure, porous, changing sites of inclusion and exclusion that are anything but natural kinds. Furthermore, I suggest that works of poetry, drama, painting, dance, and other arts may profitably be understood as works of philosophy and that philosophy itself may profitably be understood as an art, as performance work. I support this claim by an analysis of philosophy's canon as (...) historicist, expressivist, and self-consciously hybrid. I explicate the notion of hybridity in terms of crossings understood as encounters, resistance and opposition, and passing borders. I conclude by drawing parallels between philosophical notions of hybridity and political issues of identity, community, and outsiders. Throughout this article, I am concerned to do philosophy in a way or style consistent with the expressivist view of philosophy I present. (shrink)

Exploring reflection -- Writing self : the 1st dialogical movement -- Surfing the reflective spiral : the 2nd dialogical movement -- Framing insights -- The dance with Sophia : the 3rd dialogical movement -- Guiding reflection : the 4th dialogical movement -- Weaving narrative and performance : the 5th & 6th dialogical movements -- The reflective curriculum -- Reflections on touch and the environment -- Reflections on caring -- Life begins at 40 -- Balancing the wind or a lot (...) of hot air -- A reflective model of clinical practice -- Reflective leadership -- Teetering on the edge of chaos -- Ensuring quality (clinical standards and clinical audit) -- Clinical supervision -- Tales of clinical supervision -- Therapeutic journaling with patients -- The bully and the sheep : storyboard -- Reflective prose poems -- Through a glass darkly : the performance turn. (shrink)

Western art gardens have enjoyed a chequered relationship with philosophical aesthetics. At different times, they have been both lauded and rejected as exemplars of art, and, for most of the last 150 or so years, they have been largely ignored. However, during the last 25 years, there has been a welcome resurgence of philosophical interest in such gardens. This study situates the work stemming from this revival of interest in its historical context and assesses its adequacy in accounting for gardens (...) in accordance with a range of pan-art criteria. The study argues that contemporary philosophical accounts of gardens are inadequate in some important ways, particularly with respect to gardens’ temporality, ontology, and arthood, and the ways in which gardens are experienced. In response to the arguments of Amie Thomasson, Dominic McIver Lopes, and some other contemporary philosophers, which advocate philosophical accounts of individual arts rather than pan-art accounts, the study develops a partial, new account of gardens that aims to remedy the perceived inadequacies in existing accounts. The new account claims that gardens are singular, not multiple, artworks and that they have an identity not unlike that possessed by humans and other animals; that, metaphorically speaking, our garden experiences may be helpfully illuminated by the application of theories developed in the context of contemporary, improvisatory dance; and that the “ordinariness” of many of gardens materials may be better understood in terms of Arthur Danto’s claim that esse est interpretari, that is, that meaning and value derive from the interpretative process. The new account also proposes personhood as a potentially useful heuristic for understanding how gardens are experienced and understood. The concept of “garden,” and the related constitutive garden aspects, features, and issues are established at the opening of the study with reference to an actual garden. Thereafter, the sources on which the study draws, and which it critiques, are all archival. They include recent philosophical monographs by Mara Miller (The Garden as Art), Stephanie Ross (What Gardens Mean), and David Cooper (A Philosophy of Gardens), and a range of historical and other contemporary monographs and papers written by philosophers, garden historians, and landscape architects and theorists. (shrink)

In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to (...) unify and potentially comprehensively explain these difficult cases. (shrink)

A: The Earth, Moon, and Sun circle each other in a free-fall dance, their orbits a delicate balance of mutual gravitational attraction and centrifugal force. One might think that in such free fall all the forces would be completely "used up", but this is not so. The left-over gravitational forces from the Sun and Moon produce tides that move the waters of Earth's oceans by dozens of feet and create changing stresses and displacements in the Earth's crust. These left-overs (...) are called "tidal forces". (shrink)

The Aeolic dimeter and trimeter constitute so considerable a part of Greek lyric and dramatic poetry that the correct apprehension of their form is a matter of great moment. The Greek metricians comprehended this rightly, in the main, but in the first half of the nineteenth century the doctrine of these learned men was supplanted by a new theory that attempted to apply the principles that underlie modern poetry to the explanation of the undoubtedly complex rhythm of these clauses. Many (...) scholars persistently maintain this theory. It is not difficult to discover why it was invented and why it remains attractive. That the quantitative rhythms and metres of Greek poetry should seem complicated to men whose language is accentual is inevitable, whereas modern metres and rhythms are notoriously simple. The limitations imposed upon poetic form by accentual speech are extreme. No modern poet, for example, has attempted Ionic or Cretic measures. Again Greek music was simple, and both music and dance were under the control of the singers, but modern music is a complex art, and casts language in an iron mould. Nevertheless musical expression must be the basis of comparison, so far as we allow ourselves to institute it, between ancient and modern rhythms. The attempt to conform Greek lyrics to the elementary—and uncertain—rhythms of modern poetry that is merely read or recited implies a fundamental misconception of relations. Greek lyrics were melic. Agathon, in the Thesmophoriazusae, sings as he composes. These Greek songs were never intended to be read by anybody, Greek or barbarian. (shrink)

Experiences of embodied remembering are familiar and diverse. We settle bodily into familiar chairs or find our way easily round familiar rooms. We inhabit our own kitchens or cars or workspaces effectively and comfortably, and feel disrupted when our habitual and accustomed objects or technologies change or break or are not available. Hearing a particular song can viscerally bring back either one conversation long ago, or just the urge to dance. Some people explicitly use their bodies to record, store, (...) or cue memories. Others can move skilfully, without stopping to think, in complex and changing environments thanks to the cumulative expertise accrued in their history of fighting fires, or dancing, or playing hockey. The forms of memory involved in these cases may be distinct, operating at different timescales and levels, and by way of different mechanisms and media, but they often cooperate in the many contexts of our practices of remembering. (shrink)

The Aeolic dimeter and trimeter constitute so considerable a part of Greek lyric and dramatic poetry that the correct apprehension of their form is a matter of great moment. The Greek metricians comprehended this rightly, in the main, but in the first half of the nineteenth century the doctrine of these learned men was supplanted by a new theory that attempted to apply the principles that underlie modern poetry to the explanation of the undoubtedly complex rhythm of these clauses. Many (...) scholars persistently maintain this theory. It is not difficult to discover why it was invented and why it remains attractive. That the quantitative rhythms and metres of Greek poetry should seem complicated to men whose language is accentual is inevitable, whereas modern metres and rhythms are notoriously simple. The limitations imposed upon poetic form by accentual speech are extreme. No modern poet, for example, has attempted Ionic or Cretic measures. Again Greek music was simple, and both music and dance were under the control of the singers, but modern music is a complex art, and casts language in an iron mould. Nevertheless musical expression must be the basis of comparison, so far as we allow ourselves to institute it, between ancient and modern rhythms. The attempt to conform Greek lyrics to the elementary—and uncertain—rhythms of modern poetry that is merely read or recited implies a fundamental misconception of relations. Greek lyrics were melic. Agathon, in the Thesmophoriazusae, sings as he composes. These Greek songs were never intended to be read by anybody, Greek or barbarian. (shrink)

It is natural to think that the relationship between ‘rain’ and the location of rain is different from the relationship between ‘dance’ and the location of dancing. Utterances of (1) are typically interpreted as, in some sense, being about a location in which it rains. (2) is, typically, not interpreted as being about a location in which the dancing takes place.

To investigate the unique kinds of mentality involved in skilled performance, this paper explores the performance ecology of the Māori haka, a ritual form of song and dance of the indigenous people of Aotearoa New Zealand. We respond to a recent proposal to program robots to perform a haka as ‘cultural preservationists’ for ‘intangible cultural heritage’. This ‘Robot Māori Haka’ proposal raises questions about the nature of skill and the transmission of embodied knowledge; about the cognitive and affective experiences (...) cultivated in indigenous practices like haka; and about the role of robots in the archival aspirations of human societies. Reproducing haka, we suggest, requires more than copying physical actions; preserving the ‘intangible’ entails more than programming postures and movements. To make this case, we discuss the history of European responses to the haka, and analyse its diverse performance features in cultural context. Arguing that indigenous movement practices incorporate genuinely embodied knowledge, we claim that skilled performance of haka is deeply mindful, embodying and transmitting dynamic, culturally shared understandings of the natural and social world. The indigenous psychologies incorporated in haka performance are animated by a shared history integrated with its environment. Examining haka performance through the lens of 4E cognitive skill theory for mutual benefit, we discuss the effects of synchrony in collective action, the social and environmental scaffolding of affect and emotion, and the multilayered relations between past and present. Culturally-embedded systems of skilled movement like the Māori haka may, we suggest, constitute specific ways of thinking and feeling. (shrink)

Being social creatures in a complex world, we do things together. We act jointly. While cooperation, in its broadest sense, can involve merely getting out of each other’s way, or refusing to deceive other people, it is also essential to human nature that it involves more active forms of collaboration and coordination (Tomasello 2009; Sterelny 2012). We collaborate with others in many ordinary activities which, though at times similar to those of other animals, take unique and diverse cultural and psychological (...) forms in human beings. But we also work closely and interactively with each other in more peculiar and flexible practices which are in distinctive ways both species-specific and culturally and historically contingent: from team sports to shared labour, from committee work to mass demonstrations, from dancing to reminiscing together about old times. (shrink)

This work addresses the case of the Ballet National de Marseille (BNM) and the 2017 recreation of the piece Passione, created by the artistic directors Emio Greco and Pieter C. Scholten. This study, informed by a phenomenological approach, adopts ethnographic methods, including participant observation, in-depth interviews, and one researcher’s direct involvement with the practices of enculturation and enskillment in this dance form. It investigates how the dancers of the BNM articulate their diverse forms of agency in relation to the (...) choreographer’s artistic vision and demands. By looking at the specific case of the BNM staging of Passione, we can isolate some significant features of contemporary ballet’s trajectory as an emergent dance genre on the edge between innovation and tradition. (shrink)

Color FilmAs if from darkness, from gloom, from nothing —this moment is sewn through us like a thread —from above our shoulders — from primeval night —a shining river. A flying light.Onto the screen, onto a white calm,onto a cloth, onto the ground of spatial fields,it flies through the eyeless dark,it's as voluminous as seed or salt.And in this theater, where light's been banished,where even streetlight fades away completely,other light channels vibrate,and reflections wander through the eye.The curtains open up — (...) the wings of a gate.The screen shifts our eyes and soulsso that we reach new perspectives,blown by the wind into the changingof colors, landscapes, rooms,we touch fire, earth, water.But no! Not those! And not like that!There's a wall here, the screen's always a wall.So, when the shades are opened and it's over,daylight pours through the aisles,we walk as if from underground corridors,we reach for cigarettes in our pockets.We exit like a flood, like a tide,and start talking again.O reality, blinding and sublime!We learn to love. We learn to see.StanzasThose years are slowly fading.Our house was by the railroad stationwhere engines covered in soot hammeredand invisible locomotives roared at night.Pedestrians passed by our porch,their moods dependent on loveand weather, coats and sorrowscarried over their shoulders, invisibleswords drawn but hesitant — as if awaitingtournament trumpets to launch their lives.The acacia (the one that was cut down later)grew according to a centuries-long spanof rain and sun and, like a lively banner,the windows reflected its green flash.And there was lilac, a skinny creature,diminished from the leaves to the roots.But once a year it flushed numb madlyand flourished although it was in pain.(It's worth mentioning the elderberry —dense, aromatic, and luminous,and how, after trembling on the bush,a rainbow surfaced through the drizzle.)Those lands were also full of winter —Christmassy and audacious, like an invasion,and a piercing whirlwind flew inthrough cold doorways and frozen windows.And in the lanterns oranges burned,buckets clanking through the morning,snow trampled after a blizzard,brown brick ovens roaring inside houses...Those years are fading like those legends,but who will weave us sweeter memories?Elegy for the SixtiesSummer, the smell of a soccer ball, elderberry, currant,couples made out in the evening bushes,and when the twilight descended beyond the river,the stony sidewalks smelled of warm rain.The soccer ball flew over antennas and linden trees,its body leather and cosmic.From grape-covered arbors, with pubescent sobs,songs of the prodigy Robertino spread through the world.The night thickened instantly, the ball meltedin the darkness, lamps lit up in the orchards and porches,a mysterious depth opened in a treetop,the shadows on the faded curtains spoke.The ball never came back: disappeared in the distance.Frogs croaked from neglected fountainsin the park where there were dances every night,where a saxophone wheezed, where they carried knives.The ball remained in the air, and the years unfoldedlike sandy seas, like salty deserts,and spooky carousels horrendously circledand creaked for us, as in a dream, until morning.The Museum of AntiquitiesHow the two of us walkthe cramped labyrinths of an old house!...Tapestries and trumpetsglorify an unknown couple,as if seeingour conspiracy:every toucha warm flash.And then again and againwe passin the mirrors.The clock with blazonsindicates, as always, it's two,and sneaking after usmaybe anguish, maybe a fugue...Passing portraitsand palanquinsan echo of footstepswalks with us.We disappeared somewhere for a long time(for two hundred years?For three hundred?).And when it gets dark,from unheated rooms(I seem to have behaved well,I did nothing wrong),into hot neon lightswe return forever.I carry you in my hand,and life is so vast... (shrink)

Observational learning can enhance the acquisition and performance quality of complex motor skills. While an extensive body of research has focused on the benefits of synchronous (i.e., concurrent physical practice) and non-synchronous (i.e., delayed physical practice) observational learning strategies, the question remains as to whether these approaches differentially influence performance outcomes. Accordingly, we investigate the differential outcomes of synchronous and non-synchronous observational training contexts using a novel dance sequence. Using multidimensional cross-recurrence quantification analysis, movement time-series were recorded for novice (...) dancers who either synchronised with (n = 22) or observed and then imitated (n = 20) an expert dancer. Participants performed a 16-count choreographed dance sequence for 20 trials assisted by the expert, followed by one final, unassisted performance trial. Although end-state performance did not significantly differ between synchronous and non-synchronous learners, a significant decline in performance quality from imitation to independent replication was shown for synchronous learners. A non-significant positive trend in performance accuracy was shown for non-synchronous learners. For all participants, better imitative performance across training trials led to better end-state performance, but only for the accuracy (and not timing) of movement reproduction. Collectively, the results suggest that synchronous learners came to rely on a realtime mapping process between visual input from the expert and their own visual and proprioceptive intrinsic feedback, to the detriment of learning. Thus, the act of synchronising alone does not ensure an appropriate training context for advanced sequence learning. (shrink)

The bulk of the writings Husserl himself saw through to publication were, in one way or another, successive attempts at an "introduction" to phenomenology. That not a single one of these works is of easy access to those for whom phenomenology is something novel in no way contravenes the use of the term 'introduction" to name them. After all, to the end of his days Husserl spoke of himself as a philosophical beginner, and not from any false modesty, but because (...) he knew that the philosopher has access to the archai or old beginnings only if, by his persistent questioning, he is always ready to make a new beginning. "Introduction" amounts, then, to a term of art in his philosophy, describing as much a work in progress as an invitation to the dance. (shrink)

Far more than just a dance, the dynamic choreography of the Yup’ik provides an illuminating window into the morality, social organization, and colonial history of this indigenous people. In Yupiit Yurayarait, anthropologist Ann Fienup-Riordan begins with a brief historical overview of the colonization and development of Alaska from the Yup'ik point of view. Then, armed with oral history testimony spanning thirty years, she shows how singing and dancing are interconnected and imbued with meaning in this complex ritual. Accompanied by (...) one hundred and fifty original photographs, this volume marks the first in-depth look at the Yup’ik people through the lens of interpretive dance. (shrink)

Besides the pure pleasure of watching a dance performance, dance as a whole-body movement is becoming increasingly popular for health-related interventions. However, the science-based evidence for improvements in health or well-being through dance is still ambiguous and little is known about the underlying neurophysiological mechanisms. This may be partly related to the fact that previous studies mostly examined the neurophysiological effects of imagination and observation of dance rather than the physical execution itself. The objective of this (...) pilot study was to investigate acute effects of a physically executed dance with its different components on the electrical brain activity and its functional connectivity using electroencephalographic analysis. Eleven dance-inexperienced female participants first learned a Modern Jazz Dance choreography over three weeks. Afterwards, the acute effects on the EEG brain activity were compared between four different test conditions: physically executing the MJD choreography with music, physically executing the choreography without music, imaging the choreography with music, and imaging the choreography without music. Every participant passed each test condition in a randomized order within a single day. EEG rest-measurements were conducted before and after each test condition. Considering time effects the physically executed dance without music revealed in brain activity analysis most increases in alpha frequency and in functional connectivity analysis in all frequency bands. In comparison, physically executed dance with music as well as imagined dance with music led to fewer increases and imagined dance without music provoked noteworthy brain activity and connectivity decreases at all frequency bands. Differences between the test conditions were found in alpha and beta frequency between the physically executed dance and the imagined dance without music as well as between the physically executed dance with and without music in the alpha frequency. The study highlights different effects of a physically executed dance compared to an imagined dance on many brain areas for all measured frequency bands. These findings provide first insights into the still widely unexplored field of neurological effects of dance and encourages further research in this direction. (shrink)