The process of inception, development and refinement during the creation of a new dance work is described and explored. The account is based on annotated video of the professional choreographer and dancers as they create and sequence new movement material, as well as weekly journal entries made by one of the dancers. A 24-week chronology is reported. We analyse the choreographic process using the Geneplore model of creative cognition as an organising framework and identify generative and exploratory processes including problem (...) finding and problem solving, metaphorical thinking, non-linear composition, and multi-modal imagery. An analytical tool adapted from the discipline of music analysis is used to explore relationships between recurring themes and visual, visceral, spatial and tactile images. Ideas for experimental work relating to choreographic cognition are discussed. (shrink)

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the (...) timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

We propose Rhythmic Relating for autism: a system of supports for friends, therapists, parents, and educators; a system which aims to augment bidirectional communication and complement existing therapeutic approaches. We begin by summarizing the developmental significance of social timing and the social-motor-synchrony challenges observed in early autism. Meta-analyses conclude the early primacy of such challenges, yet cite the lack of focused therapies. We identify core relational parameters in support of social-motor-synchrony and systematize these using the communicative musicality constructs: pulse; quality; (...) and narrative. Rhythmic Relating aims to augment the clarity, contiguity, and pulse-beat of spontaneous behavior by recruiting rhythmic supports and relatable vitality; facilitating the predictive flow and just-ahead-in-time planning needed for good-enough social timing. From here, we describe possibilities for playful therapeutic interaction, small-step co-regulation, and layered sensorimotor integration. Lastly, we include several clinical case examples demonstrating the use of Rhythmic Relating within four different therapeutic approaches. These clinical case examples are introduced here and several more are included in the Supplementary Material. A suite of pilot intervention studies is proposed to assess the efficacy of combining Rhythmic Relating with different therapeutic approaches in playful work with individuals with autism. Further experimental hypotheses are outlined, designed to clarify the significance of certain key features of the Rhythmic Relating approach. (shrink)

Tacitus opens the Annals with a succinct sketch of the constitutional history of Rome from the kings to Augustus (1.1.1). The common interpretation holds that Tacitus adopts a cyclical view of this history which identifies the supremacy of Augustus with kingship, and chooses his vocabulary of power primarily with stylistic variation in mind. The terms employed, princeps and imperium, are also held to announce a major interpretative preoccupation of the Annals, the gap between the ‘appearance’ and the ‘reality’ of power (...) under the principate. This essay will demonstrate that these interpretations of the structure and language of the preface are misleading. Tacitus offers a sequential view of Roman constitutional history that casts Augustus as a pivot between the tradition stretching back to the foundation of the city and a new phase which he identifies in its own terms, not as a reversion to kingship. The introduction of the motif of ‘appearance v. reality’ comes not with the language of princeps and imperium, but at 1.2.1. An appendix analyses the use of the term principatus in Velleius Paterculus and Tacitus. (shrink)

This essay offers three arguments concerning the ancient tradition about the mons Caelius. (1) Tacitus’ digression on the name of the mons Caelius at Annals 4.65 provides a useful framework for interpreting the complexity of the tradition: Caeles Vibenna should be regarded as a constant feature, his chronological context as an unstable feature that was recognised as such. (2) Claudius’ report of Etruscan auctores on the naming of the mons Caelius in his speech of A. D. 48 about the Gauls, (...) correctly emended, offers a unique etymology that cannot be reconciled with Roman accounts. (3) The presence of appellitare in Tacitus’ digression and Claudius' speech is normally assumed to prove Tacitus’ debt to Claudius, but this assumption cannot be sustained in the face of their fundamentally irreconcilable treatments of Caeles Vibenna. Tacitus used appellitare independently of Claudius, who was not a source of Ann. 4.65. (shrink)