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It is now well known that areas in the brain that are active when we act or feel become active again when weobserve other people act and express their emotions – as if we would internally relivewhat the other personis doing and feeling. In our daily lives though we hardly behave as passive observers, but rather interact withothers. During my talk I will guide you through a series of experiments that try to investigate how our brainintegrates our perception of others within a more realistic dyadic interaction in which such perception istransformed into a behavioural response to the state of the other.
It is now well known that areas in the brain that are active when we act or feel become active again when weobserve other people act and express their emotions – as if we would internally relivewhat the other personis doing and feeling. In our daily lives though we hardly behave as passive observers, but rather interact withothers. During my talk I will guide you through a series of experiments that try to investigate how our brainintegrates our perception of others within a more realistic dyadic interaction in which such perception istransformed into a behavioural response to the state of the other.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Présentation et retour sur l'installation performative et expérimentale. Dans le cadre du projet Labodance en collaboration avec Mélanie Perrier.
Présentation et retour sur l'installation performative et expérimentale. Dans le cadre du projet Labodance en collaboration avec Mélanie Perrier.
Présentation et retour sur l'installation performative et expérimentale. Dans le cadre du projet Labodance en collaboration avec Mélanie Perrier. Présentation et retour sur l'installation performative et expérimentale. Dans le cadre du projet Labodance en collaboration avec Mélanie Perrier.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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This talk presents some of the analysis techniques that have been used for the linguistic study
of Deaf sign languages to the analysis of the non-dominant hand gestures of orchestral
conductors. The results will be illustrated by examples from both sign languages (Boyes
Braem) and from conducting (Thüring Bräm).
This talk presents some of the analysis techniques that have been used for the linguistic study
of Deaf sign languages to the analysis of the non-dominant hand gestures of orchestral
conductors. The results will be illustrated by examples from both sign languages (Boyes
Braem) and from conducting (Thüring Bräm).
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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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Introduction à sa conférence par Daniel Maximin. Où il est question notamment du rapport de Césaire à ses manuscrits…
Introduction à sa conférence par Daniel Maximin. Où il est question notamment du rapport de Césaire à ses manuscrits…
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Daniel Maximin raconte un pan de la genèse de L’Isolé soleil, en dialogue avec l’œuvre d’Hélène Cixous.
Daniel Maximin raconte un pan de la genèse de L’Isolé soleil, en dialogue avec l’œuvre d’Hélène Cixous.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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What is “joint” and what is “improvisational” about joint improvisation? The “joint” aspect can be contrastedwith solo improvisation, such as that of a jazz pianist. Even when jazz pianists improvise in the context of anensemble, the arrangement of these improvisationsis often serial, rather than simultaneous: each instrumentalist improvises in turn while other members of theensemble play relatively fixed parts. This is in contrast to forms of improvisation in which two or moreperformers improvise simultaneously, either as separate entities (as occurs in contemporary dance) or as acollective unit (as in 2personimprov acting or contact improvisation). To understand all of these cases, weneed to think about the partnershiparrangement of the performers and their leader/follower dynamic. Next, to explore the “improvisational”aspect, we need to realize that improvisation is, first and foremost, a form of creativity, in particular the typethat occurs online during performance. This is in contrast to online types of creativity that occur away fromperformance – such as brainstormingsessions – as well as to longterm(offline) forms of group creativity, such as technology development or theproduction of an opera. As such, we need to examine established models of improvisation in order tounderstand how joint improvisation might occur. Influential models from the study of jazz include Pressing’smodel of recombining prelearnedstructures, and JohnsonLaird’smodel of rulebasedimprovisation.
Finally, I will examine neural aspects of the “joint” and the “improvisational” by describing the results of thefirst twopersonfunctional MRI study of improvisation during partnered movement.
What is “joint” and what is “improvisational” about joint improvisation? The “joint” aspect can be contrastedwith solo improvisation, such as that of a jazz pianist. Even when jazz pianists improvise in the context of anensemble, the arrangement of these improvisationsis often serial, rather than simultaneous: each instrumentalist improvises in turn while other members of theensemble play relatively fixed parts. This is in contrast to forms of improvisation in which two or moreperformers improvise simultaneously, either as separate entities (as occurs in contemporary dance) or as acollective unit (as in 2personimprov acting or contact improvisation). To understand all of these cases, weneed to think about the partnershiparrangement of the performers and their leader/follower dynamic. Next, to explore the “improvisational”aspect, we need to realize that improvisation is, first and foremost, a form of creativity, in particular the typethat occurs online during performance. This is in contrast to online types of creativity that occur away fromperformance – such as brainstormingsessions – as well as to longterm(offline) forms of group creativity, such as technology development or theproduction of an opera. As such, we need to examine established models of improvisation in order tounderstand how joint improvisation might occur. Influential models from the study of jazz include Pressing’smodel of recombining prelearnedstructures, and JohnsonLaird’smodel of rulebasedimprovisation.
Finally, I will examine neural aspects of the “joint” and the “improvisational” by describing the results of thefirst twopersonfunctional MRI study of improvisation during partnered movement.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Penny Boyes-Braem, (Center for Sign Language Research, Basel) et Rachel Sutton-Spence (Universidade Federal de Santa Catarina, Florianopolis, Brésil)
This talk will report on the results of a study done by Boyes Braem and Sutton-Spence that compares how three sets of metaphors (for animals, inanimate objects and emotions) were expressed by four hearing mimes and four Deaf British Sign Language poets. The focus of the analyses are on how the two forms of expression using the body are similar and how they are different
Penny Boyes-Braem, (Center for Sign Language Research, Basel) et Rachel Sutton-Spence (Universidade Federal de Santa Catarina, Florianopolis, Brésil)
This talk will report on the results of a study done by Boyes Braem and Sutton-Spence that compares how three sets of metaphors (for animals, inanimate objects and emotions) were expressed by four hearing mimes and four Deaf British Sign Language poets. The focus of the analyses are on how the two forms of expression using the body are similar and how they are different
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Carrying the Feeling explores autistic Lucy Blackman’s use of “carrying” as an expressive force in herwriting. Continuing to delve into what I have called autistic perception theforce of perception that doesn’tyet parse out the environment but attends to the emergent qualities of an environmentality in act inthispaper I explore how else we might think conceptssuch as volition, intentionality and agency. Of particular interest here is the concept of facilitation, and theimprovisatory nature of what I call a “facilitation of facilitation.” If carrying is a force that already composeswith language, perhaps there is a productive way to consider an environmentally propulsive concept ofagencement as operator in experience rather than the ubiquitous firstpersonaccount of agency?Challenging what I call “neurotypicality as first identity politics,” I propose to open up a discussion of whereelse a conversation of relation might begin.
Carrying the Feeling explores autistic Lucy Blackman’s use of “carrying” as an expressive force in herwriting. Continuing to delve into what I have called autistic perception theforce of perception that doesn’tyet parse out the environment but attends to the emergent qualities of an environmentality in act inthispaper I explore how else we might think conceptssuch as volition, intentionality and agency. Of particular interest here is the concept of facilitation, and theimprovisatory nature of what I call a “facilitation of facilitation.” If carrying is a force that already composeswith language, perhaps there is a productive way to consider an environmentally propulsive concept ofagencement as operator in experience rather than the ubiquitous firstpersonaccount of agency?Challenging what I call “neurotypicality as first identity politics,” I propose to open up a discussion of whereelse a conversation of relation might begin.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Joint actions require an ability to understand and predict the actions of others far enough into the future to
have time to plan and execute matching motor programs. Here I will review experiments in which we have
tracked information flow from one brain to another to show that the motor system seems to play a key role in
these functions. I will embed this experimental data in a Hebbian learning model, which posits that
predictions are the result of synaptic
plasticity during selfobservation. Jointly this talk will aim to trigger thoughts on how we can study the
involvement of the motor system in coordinating actions across individuals
Joint actions require an ability to understand and predict the actions of others far enough into the future to
have time to plan and execute matching motor programs. Here I will review experiments in which we have
tracked information flow from one brain to another to show that the motor system seems to play a key role in
these functions. I will embed this experimental data in a Hebbian learning model, which posits that
predictions are the result of synaptic
plasticity during selfobservation. Jointly this talk will aim to trigger thoughts on how we can study the
involvement of the motor system in coordinating actions across individuals
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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