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"Beneficial JI" Debate
/ Canal-u.fr
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"Beneficial JI" Debate Mot(s) clés libre(s) : interaction linguistique, improvisation
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Acting together without planning ahead?
/ 06-11-2015
/ Canal-u.fr
SEBANZ Natalie
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Experiments on joint action have given us insights into the mechanisms that allow people to coordinate theiractions with each other, be it making music, dancing, or cooking a dish together. One key finding is thatpeople engage in predictions about their interaction partner’s actions. For example, when someone is aboutto hand over a candle to us, we anticipate the start and the timing of her action. A further key finding is thatpeople systematically modulatetheir actions in ways that make it easier for their interaction partners to predict them. For example, if youdon’t know whether I am about to go left or right, I may veer further to the left to signal where I am going.While these mechanisms work well for joint actionswhere the goals and the tasks that need to be performed are specified in advance, less is known about therole they play in joint improvisation where predicting others’ actions can seem impossible or detrimental. Iwill discuss the benefits and limits of action prediction in joint improvisation. Mot(s) clés libre(s) : interaction linguistique, improvisation
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Brain to Brain approaches to joint actions
/ 04-11-2015
/ Canal-u.fr
KEYSERS Christian
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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 Mot(s) clés libre(s) : interaction linguistique, improvisation
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Carrying the Feeling
/ 05-11-2015
/ Canal-u.fr
MANNING Erin
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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. Mot(s) clés libre(s) : interaction linguistique, improvisation
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Deconstructing “joint improvisation”
/ 06-11-2015
/ Canal-u.fr
BROWN Steven
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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. Mot(s) clés libre(s) : interaction linguistique, improvisation
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From me and you to we: how our brain integrates our actions and emotions when we interact
/ 05-11-2015
/ Canal-u.fr
GAZZOLA Valeria
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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. Mot(s) clés libre(s) : interaction linguistique, improvisation
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Going into the unknown in science and art
/ 04-11-2015
/ Canal-u.fr
KEYSERS Christian
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Scientists must grope into the undefined place beyond the known. So must improvisation theater actorswalking onto the stage with no idea what will happen next. Improvisation theater developed practices thathelp groups of actors create a new scene on the spot, by focusing on mutual support: saying yes to eachothers ideas and bypassing the inner critic that spoils our spontaneity. I’ll describe how as a scientist by dayand improvisation actor by night, I learned from theater how to do better science. The concepts are universaland can apply to unexpected situations across disciplines. Mot(s) clés libre(s) : interaction linguistique, improvisation
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How much do jazz improvisers share understanding with each other and with their listeners?
/ 05-11-2015
/ Canal-u.fr
SCHOELLER Paul-Emmanuel
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To what extent do collaborating improvisers understand what they are doing in the same way as each other?And to what extent do their listeners understand the improvisation in the same way as the performers? Thistalk reviews evidence from two case studies (with Neta Spiro and Amandine Pras) of pianosaxophoneduos, one improvising three versions of a jazz standard (“It Could Happen to You”) and one carrying out anextended free jazz improvisation. In both studies, immediately afterwards the performers were separatelyinterviewed, from memory and prompted by audiorecordings, about their detailed characterizations of theperformances. Outside listeners (expert musicians in the same genres) were also interviewed for theircharacterizations. Later, the performers and outside listeners rated the extent to which they endorsedanonymized versions of statements by all participants, based on close relistening to the recordings. 239internet listeners also rated their levels of endorsement of the jazz standard characterizations. In both cases,performers endorsed statements they themselves had generated most often, but they endorsed statementsby an outside listener more than their performing partner’s statements. Overall levels of agreement amongthe performers were greater than chance but quite low. Among the 239 listeners to the jazz standardimprovisations, only a very small number agreed with the performers’ characterizations at a level greaterthan chance. The implication is that fully shared understanding of what happened is not essential forsuccessful joint improvisation, and that performers’ interpretations are not necessarily privileged relative toan outsider’s. Mot(s) clés libre(s) : interaction linguistique, improvisation
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Improvising in Sign Language and Gestures
/ 06-11-2015
/ Canal-u.fr
CITRON Ati
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The Sign Language Theatre Laboratory is a practicebasedartistic research group that began operating in2014 as part of the Grammar of the Body (GRAMBY) Interdisciplinary Research Project led by University ofHaifa linguist Wendy Sandler and funded by the European Research Council. Most of the nine Lab actorsare deaf and hardofhearing,and all of them use Israeli Sign Language (ISL) on a daily basis. We use ISLcombined with expressive gestures and physical theatre in order to develop a form of visual theatre that isaimed at both deaf and hearing spectators. Improvisation is our principal method of operation. We play withthe mimetic component of ISL, highlighting facial expressions and body language, and experimenting withgestures that are normally performed and understood by hearing and deaf people alike. We are inspired bydeaf culture as well as by the work of 20th Century theatre experimentalists such as Meyerhold, Artaud,Grotowski and the Living Theatre. We also draw from the language of two forms of traditional Indian dancetheatre, Kutiyattam and Kathakali, which employ combinations of codified hand movements (mudras) andfacial expressions (rasas) to present the dramaticaction. When our group was introduced to these genres in a workshop, we discovered a surprising affinitybetween the signs of traditional Indian theatre and those used in ISL. From this potpourri we devise ourtheatrical materials. We improvise within certain movement routines and exercises, realizing that free groupimprovisation can only stem from clear, at times even rigid structures and rules. Also necessary, of course,are “comprehensive listening”, which deaf actors practice visually, the ability to lead and be led, and finally,the skill of contributing to a collective creation. These will be demonstrated in my presentation through ananalysis of a few short videos of our work. Mot(s) clés libre(s) : interaction linguistique, improvisation
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Improvising Interaction
/ 04-11-2015
/ Canal-u.fr
HEALEY Patrick
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Even the most tightly scripted solo performances involve improvisation; the detailed execution of each note
or word cannot be completely determined in advance. In joint performances the challenge of coordinating
the actions of multiple people in realtime becomes even more complex. One response to this challenge has
involved appeal to prediction using ‘forward models’ from computational models of action planning. These
models involve automatic activation of motor representations of the future perceptual consequences of an
unfolding action. Although normally associated with action production, if a person perceiving the action can
also produce a forward model they can predict what word or note will come next. An important problem with
this approach is that it is by definition conservative. It only works for familiar or rehearsed actions and cannot
account for the production of novel or improvised responses. Using case studies from free jazz improvisation
and conversation I will illustrate this problem for natural coordinated action. Rather than relying on access
to preestablished shared representations, constructive engagement in these situations requires
mechanisms that enable people to adapt and create new conventions on the fly i.e. improvise. I will argue
that the key processes through which this is achieved are the interactional processes of ‘repair’ that we use
to detect and deal with things that do not go as expected. These mechanisms are not auxiliary but rather
provide the fundamental foundations on which all successful human interaction depends. Mot(s) clés libre(s) : interaction linguistique, improvisation
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