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Dans le cadre du projet LGIDF, ce projet a pour but d'archiver et rendre accessibles à un public large,
en français, des informations sur les langues parlées en
(Ile-de-)France, tout particulièrement, mais non exclusivement, les langues de l'immigration récente.
L'arabe : Quelques contrastes pertinents pour l'acquisition du Français Langue Seconde par des locuteurs de l'arabe
Dans le cadre du projet LGIDF, ce projet a pour but d'archiver et rendre accessibles à un public large,
en français, des informations sur les langues parlées en
(Ile-de-)France, tout particulièrement, mais non exclusivement, les langues de l'immigration récente.
L'arabe : Quelques contrastes pertinents pour l'acquisition du Français Langue Seconde par des locuteurs de l'arabe
Dans le cadre du projet LGIDF, ce projet a pour but d'archiver et rendre accessibles à un public large,
en français, des informations sur les langues parlées en
(Ile-de-)France, tout particulièrement, mais non exclusivement, les langues de l'immigration récente.
L'arabe : Quelques contrastes pertinents pour l'acquisition du Français Langue Seconde par des locuteurs de l'arabe Dans le cadre du projet LGIDF, ce projet a pour but d'archiver et rendre accessibles à un public large,
en français, des informations sur les langues parlées en
(Ile-de-)France, tout particulièrement, mais non exclusivement, les langues de l'immigration récente.
L'arabe : Quelques contrastes pertinents pour l'acquisition du Français Langue Seconde par des locuteurs de l'arabe
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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We understand joint improvisation as an artistic form involving two or more performers engaging in multiple real-time interactions: with each other, with the audience and with the emerging content. Improvisers freely explore, within some boundaries, a large space of possibilities for new joint discoveries.
While joint improvisation has long standing history in dance, music and theatre, its scholarship as a unified phenomenon, in particular from a scientific perspective, is still in its infancy. Moreover, the perspective of joint improvisation is useful in studying a range of human phenomena beyond the boundaries of the artistic arena, including conversation, scientific co-discovery and the dynamics of groups operating in emergency situations.
The “Science of Joint Improvisation” meeting aims to bring together researchers from a number of different fields to establish a rigorous study of joint improvisation. First, the conference will bring together researchers that currently apply a scientific approach to study joint improvisation, using different paradigms – verbal report analysis, kinematic measurements, brain imaging and mathematical modeling. Second, the conference is open to researchers from different subfields of cognitive and behavioral sciences, social sciences and philosophy that study topics highly related to group improvisation, such as group creativity, aesthetic perception, linguistics, kinesthetic empathy and the human ‘mirror system’. We also see joint improvisation as a specific case of joint action, and look forward to contributions of experts from this growing field. Contributions from practitioners of improvisation will also be welcome.
The aim of this meeting is to foster scientific investigation of joint improvisation as a unique phenomenon, and as a rich novel ground for an ecological study of a number of central questions regarding human nature. The workshop is supported by the DIM cerveau & pensée (Ile de France).
We understand joint improvisation as an artistic form involving two or more performers engaging in multiple real-time interactions: with each other, with the audience and with the emerging content. Improvisers freely explore, within some boundaries, a large space of possibilities for new joint discoveries.
While joint improvisation has long standing history in dance, music and theatre, its scholarship as a unified phenomenon, in particular from a scientific perspective, is still in its infancy. Moreover, the perspective of joint improvisation is useful in studying a range of human phenomena beyond the boundaries of the artistic arena, including conversation, scientific co-discovery and the dynamics of groups operating in emergency situations.
The “Science of Joint Improvisation” meeting aims to bring together researchers from a number of different fields to establish a rigorous study of joint improvisation. First, the conference will bring together researchers that currently apply a scientific approach to study joint improvisation, using different paradigms – verbal report analysis, kinematic measurements, brain imaging and mathematical modeling. Second, the conference is open to researchers from different subfields of cognitive and behavioral sciences, social sciences and philosophy that study topics highly related to group improvisation, such as group creativity, aesthetic perception, linguistics, kinesthetic empathy and the human ‘mirror system’. We also see joint improvisation as a specific case of joint action, and look forward to contributions of experts from this growing field. Contributions from practitioners of improvisation will also be welcome.
The aim of this meeting is to foster scientific investigation of joint improvisation as a unique phenomenon, and as a rich novel ground for an ecological study of a number of central questions regarding human nature. The workshop is supported by the DIM cerveau & pensée (Ile de France).
We understand joint improvisation as an artistic form involving two or more performers engaging in multiple real-time interactions: with each other, with the audience and with the emerging content. Improvisers freely explore, within some boundaries, a large space of possibilities for new joint discoveries.
While joint improvisation has long standing history in dance, music and theatre, its scholarship as a unified phenomenon, in particular from a scientific perspective, is still in its infancy. Moreover, the perspective of joint improvisation is useful in studying a range of human phenomena beyond the boundaries of the artistic arena, including conversation, scientific co-discovery and the dynamics of groups operating in emergency situations.
The “Science of Joint Improvisation” meeting aims to bring together researchers from a number of different fields to establish a rigorous study of joint improvisation. First, the conference will bring together researchers that currently apply a scientific approach to study joint improvisation, using different paradigms – verbal report analysis, kinematic measurements, brain imaging and mathematical modeling. Second, the conference is open to researchers from different subfields of cognitive and behavioral sciences, social sciences and philosophy that study topics highly related to group improvisation, such as group creativity, aesthetic perception, linguistics, kinesthetic empathy and the human ‘mirror system’. We also see joint improvisation as a specific case of joint action, and look forward to contributions of experts from this growing field. Contributions from practitioners of improvisation will also be welcome.
The aim of this meeting is to foster scientific investigation of joint improvisation as a unique phenomenon, and as a rich novel ground for an ecological study of a number of central questions regarding human nature. The workshop is supported by the DIM cerveau & pensée (Ile de France). We understand joint improvisation as an artistic form involving two or more performers engaging in multiple real-time interactions: with each other, with the audience and with the emerging content. Improvisers freely explore, within some boundaries, a large space of possibilities for new joint discoveries.
While joint improvisation has long standing history in dance, music and theatre, its scholarship as a unified phenomenon, in particular from a scientific perspective, is still in its infancy. Moreover, the perspective of joint improvisation is useful in studying a range of human phenomena beyond the boundaries of the artistic arena, including conversation, scientific co-discovery and the dynamics of groups operating in emergency situations.
The “Science of Joint Improvisation” meeting aims to bring together researchers from a number of different fields to establish a rigorous study of joint improvisation. First, the conference will bring together researchers that currently apply a scientific approach to study joint improvisation, using different paradigms – verbal report analysis, kinematic measurements, brain imaging and mathematical modeling. Second, the conference is open to researchers from different subfields of cognitive and behavioral sciences, social sciences and philosophy that study topics highly related to group improvisation, such as group creativity, aesthetic perception, linguistics, kinesthetic empathy and the human ‘mirror system’. We also see joint improvisation as a specific case of joint action, and look forward to contributions of experts from this growing field. Contributions from practitioners of improvisation will also be welcome.
The aim of this meeting is to foster scientific investigation of joint improvisation as a unique phenomenon, and as a rich novel ground for an ecological study of a number of central questions regarding human nature. The workshop is supported by the DIM cerveau & pensée (Ile de France).
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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"I have been a practitioner of soloandjointimprovisationin music and dance for a while. And I have alwayswondered what the main differences were between the two. What I am particularly interested in are the typeof experiences that allow me to cognitively function in a different way, that is, that allow me to explore new(cognitive) territories. In particular, there is always a moment, in an improvisation, be it solo or joint, when Iam in the « zone », that is, in a type of trance where my conscious mind is not in control anymore, or at leastseems not to be in control anymore. And my experience is that I reach that state faster in joint improvisationthan in solo improvisation. In this presentation that will be more in the form of a conversation, I would like totry to describe the experiences I have been through as an improviser from a phenomenologicalpointofview,and emphasize the differences between soloandjointimprovisation.I will formulate somehypotheses on brain remapping in both situations, soloandjointimprovisations,hypotheses that rely fornow only on my own phenomenological experiences and my own interpretation of them. I will also describehow I believe that soloandjointimprovisationsprovide an excellent framework to illustrate the concept ofenaction proposed by Francisco Varela, and how this concept is activated slightly differently in both cases."
"I have been a practitioner of soloandjointimprovisationin music and dance for a while. And I have alwayswondered what the main differences were between the two. What I am particularly interested in are the typeof experiences that allow me to cognitively function in a different way, that is, that allow me to explore new(cognitive) territories. In particular, there is always a moment, in an improvisation, be it solo or joint, when Iam in the « zone », that is, in a type of trance where my conscious mind is not in control anymore, or at leastseems not to be in control anymore. And my experience is that I reach that state faster in joint improvisationthan in solo improvisation. In this presentation that will be more in the form of a conversation, I would like totry to describe the experiences I have been through as an improviser from a phenomenologicalpointofview,and emphasize the differences between soloandjointimprovisation.I will formulate somehypotheses on brain remapping in both situations, soloandjointimprovisations,hypotheses that rely fornow only on my own phenomenological experiences and my own interpretation of them. I will also describehow I believe that soloandjointimprovisationsprovide an excellent framework to illustrate the concept ofenaction proposed by Francisco Varela, and how this concept is activated slightly differently in both cases."
"I have been a practitioner of soloandjointimprovisationin music and dance for a while. And I have alwayswondered what the main differences were between the two. What I am particularly interested in are the typeof experiences that allow me to cognitively function in a different way, that is, that allow me to explore new(cognitive) territories. In particular, there is always a moment, in an improvisation, be it solo or joint, when Iam in the « zone », that is, in a type of trance where my conscious mind is not in control anymore, or at leastseems not to be in control anymore. And my experience is that I reach that state faster in joint improvisationthan in solo improvisation. In this presentation that will be more in the form of a conversation, I would like totry to describe the experiences I have been through as an improviser from a phenomenologicalpointofview,and emphasize the differences between soloandjointimprovisation.I will formulate somehypotheses on brain remapping in both situations, soloandjointimprovisations,hypotheses that rely fornow only on my own phenomenological experiences and my own interpretation of them. I will also describehow I believe that soloandjointimprovisationsprovide an excellent framework to illustrate the concept ofenaction proposed by Francisco Varela, and how this concept is activated slightly differently in both cases." "I have been a practitioner of soloandjointimprovisationin music and dance for a while. And I have alwayswondered what the main differences were between the two. What I am particularly interested in are the typeof experiences that allow me to cognitively function in a different way, that is, that allow me to explore new(cognitive) territories. In particular, there is always a moment, in an improvisation, be it solo or joint, when Iam in the « zone », that is, in a type of trance where my conscious mind is not in control anymore, or at leastseems not to be in control anymore. And my experience is that I reach that state faster in joint improvisationthan in solo improvisation. In this presentation that will be more in the form of a conversation, I would like totry to describe the experiences I have been through as an improviser from a phenomenologicalpointofview,and emphasize the differences between soloandjointimprovisation.I will formulate somehypotheses on brain remapping in both situations, soloandjointimprovisations,hypotheses that rely fornow only on my own phenomenological experiences and my own interpretation of them. I will also describehow I believe that soloandjointimprovisationsprovide an excellent framework to illustrate the concept ofenaction proposed by Francisco Varela, and how this concept is activated slightly differently in both cases."
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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