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“Quantifying JI” Short talk 1.4 Debate.
/ 04-11-2015
/ Canal-u.fr
WALTON Ashley
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“Quantifying JI” Debate. Mot(s) clés libre(s) : interaction linguistique, improvisation
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“Quantifying JI” Short talk 1.3: Ashley Walton -
Musical Improvisation: Spatiotemporal patterns of coordination
/ 04-11-2015
/ Canal-u.fr
WALTON Ashley
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When jazz musicians perform an improvisational piece of music their behaviors are not fully prescribed in
advance. Nonetheless their actions become so tightly coordinated and their decisions so seamlessly
intertwined that the musicians behave as a single synergistic unit rather than a collection of individuals. A
fundamental aspect of such musical improvisation is the bodily movement coordination that occurs among
the performing musicians, with the embodied interaction of musicians both supporting and constraining
musical creativity. Here we consider the ability of pairs of piano players to improvise, to spontaneously
coordinate their actions with coperformers. We demonstrate the ability of the timeevolving patterns of
intermusician movement coordination as revealed by the mathematical tools of non linear time series
analyses to provide a new understanding of what potentiates the novelty of spontaneous musical action.
Cross wavelet spectral analysis is applied to the musical movements of pairs of improvising pianists, a
method that isolates the strength and patterning of the behavioral coordination across a range of nested
timescales. Additionally, crossrecurrence quantification analysis is applied to the series of notes produced
by each musician to assess when and how often they visit the same musical states throughout the
improvisation. Revealing the sophistication of the previously unexplored dynamics of movement coordination
between improvising musicians is an important step towards understanding how creative musical
expressions emerge from the spontaneous coordination of multiple musical bodies. Mot(s) clés libre(s) : interaction linguistique, improvisation
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Les mots qui revendiquent : le syndicalisme à mots découverts
/ Pierre SAMSON, ENS Fontenay/St Cloud
/ 01-01-2000
/ Canal-u.fr
TOURNIER Maurice, LEFEVRE Josette
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Série Mots et politique n°1Quatre hauts responsables confédéraux à savoir MM. Louis Viannet pour la CGT, Jean-François Troglic pour la CFDT, Marc Blondel pour FO, Alain Deleu pour la CFTC répondent en direct à des questions de vocabulaire. Huit termes leur sont proposés auxquels on leur demande de réagir à chaud : travailleur, salarié, emploi, lutte des classes, négociation, réforme, égalité, unité. L’entrecroisement des réponses par le montage, qui a réduit 7 heures d’entretien à 52 minutes de film permet de voir comment les mots prennent sens dans l’imaginaire linguistique de chaque confédération. Mot(s) clés libre(s) : sens (linguistique), syndicalisme
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“Beneficial JI” - Short talk 2.1: Neta Spiro -
Joint improvisation in music therapy: characterising interaction in individual sessions
with children with autism spectrum disorders
/ 05-11-2015
/ Canal-u.fr
SPIRO Neta
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Some types of music therapy, such as Nordoff Robbins, involve improvisation by the client and therapist andthe relationship between the participants’ music making is prioritised. Some children with a diagnosis ofautism who attend these kinds of music therapy sessions often have difficulties speaking and can bereferred for a range of reasons (including difficulties in communication). What does improvisation look like inthis context? Does it differ between sessions and if so how? Can charting what improvisation in the sessionslooks like help assess changes in the client and/or the relationship between the participants? Studies ofmusic therapy sessions often analyse short moments. This focus makes it difficult to understand the contextof results and assess what the moments are representative of. In this study of case examples we annotate accordingto an annotation protocol videosof complete music therapysessions of 4 clienttherapistpairs. Each pair has two videos: one early and one late in the series ofsessions. Characteristics annotated include: where players are facing, whether they are making sounds, andthe sounds’ pulse characteristics. A range of patterns for each of these parameters was identified fordifferent clienttherapistpairs. This exploration of the types of possible patterns and relationships in musictherapy sessions helps to characterise, at a general level, what happens in sessions; provide a context formoments that might be analysed in more detail; and identify what differs between players and their sharedcharacteristics both across pairs and between pairs of sessions. Mot(s) clés libre(s) : interaction linguistique, improvisation
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La communication du sens
/ Mission 2000 en France
/ 19-02-2000
/ Canal-U - OAI Archive
SPERBER Dan
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Comment les humains communiquent-ils? Selon une conception traditionnelle, ils le font grâce au langage, qui permettrait d'encoder toutes les significations communicables. La pragmatique moderne montre que bien des significations sont communiquées sans être pleinement encodées, et peut-être sans être pleinement encodables. Au ""modèle de code"", on oppose désormais un "modèle inférentiel"de la communication, selon lequel les énoncés sont des indices plutôt que des expressions directes du vouloir-dire du locuteur. A partir de ces indices et du contexte, l'auditeur infère le sens voulu. Selon la conception classique, c'est l'existence de la communication linguistique qui permet aux humains de connaître leurs pensées réciproques. Selon une conception plus récente, cet ordre causal doit être inversé : la capacité d'attribuer à autrui des états mentaux qui aura rendu possible la communication humaine.Conférence du 19 février 2000 par Dan Sperber. Mot(s) clés libre(s) : code linguistique, cognition et langage, communication, compétence de communication (linguistique), langage et langues (compréhension), pragmatique linguistique, signification (linguistique)
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“Beneficial JI” - Short talk 2.3: Rachel-Shlmoit Brezis -
Testing the limits – and potential of joint improvisation: Motor skills, social skills and interpersonal synchronization in adults with autism spectrum disorders
/ 05-11-2015
/ Canal-u.fr
Shlmoit-Brezis Rachel
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Research on joint improvisation has shown that expert improvisers, as well as neurotypical individuals, canjointly create novel complex motion, synchronized to less than 180ms (Noy et al., 2011; Hart et al., 2014;Golland et al., 2015; FeiningerSchaalet al., in review). Presumably, this ability relies on these individuals’motor skills and social skills – yet little is known about the preconditions and correlates of successful jointimprovisation. Here, we employ the Mirror Game paradigm (Noy et al., 2011) with a population of adults withAutism Spectrum Disorder (ASD). ASD is defined by a deficit in social and communication skills and atendency for routinized behaviors yet recent research has been pointing to a possibly more primary difficultywith sensorymotorsynchronization in ASD (Gowen & Hamilton, 2013), which may in turn impedeindividuals’ ability to synchronize with others, leading to reduced social and communicative skills (Marsh etal. 2013; de Jaegher, 2013). 40 individuals with autism, and 40 agegenderandIQmatchedTypicallyDeveloping (TD) control participants played the Mirror Game against the same expert improviser. The studyaims to determine: (a) whether individuals with ASD have a reduced capacity for sensorymotorsynchronization compared to TD participants; and (b) whether the ability of both TD and ASD participants tosynchronize their motions with another player is related to basic motor skills (i.e., motor coordination,proprioception and imitation) on the one hand, and participants’ everyday social skills (conversationalrapport, empathy and autism symptom severity) on the other. 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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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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“Quantifying JI”
Short talk 1.1: Saul Albert -
Extemporary movement: an interactional account of partner dance improvisation
/ 04-11-2015
/ Canal-u.fr
SAUL Albert
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Clear empirical distinctions can be drawn between joint improvisation and choreography in dance by
exploring the rhythmical coordination of dancers and audience members in a partner dance performance.
Novice dancers typically learn footwork patterns or ’basics’ that help them move in time to music together.
Experts’ familiarity with basics, as well as conventional variations and setpiece moves form a set of
compositional structures that can be linked together to fit complimentary rhythmical patterns in music on the
fly. In a ’social dance’ performance such as the Lindy hop, (an African American vernacular jazz dance from
which the data for this study is drawn), dancers link together basics with setpiece moves along with
moments of joint improvisation. These improvised movements are literally extemporaneous they move out
of the temporal regularities of mutually learned patterns and rely on
other kinds of interactional resources and methods to achieve coordination. This paper analyses rhythmical
coordination between dancers and audience members clapping along to a Lindy hop performance in a
naturalistic setting using data drawn from a Youtube
video. This empirical starting point enables a tractable analysis of the haptic, visual, and semantic structures
and processes used for coordinating extemporaneous dance movements. Audience members’ rhythmical
responses to these processes also provides insight into longstanding problems of measurement and meaning in empirical aesthetics. Music and dance psychology tend to emphasise psychophysical measures
and posthoc report as proxies for aesthetic response. This paper proposes new ways to use the observable
patterns of rhythmical
coordination to explore joint improvisation as part of an interactional sensemaking practice Mot(s) clés libre(s) : interaction linguistique, improvisation
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C5 - Table ronde : Travailler avec le japonais
/ Bruno BASTARD, Université Toulouse II-Le Mirail SCPAM
/ 15-11-2008
/ Canal-U - OAI Archive
SANTINI André, ASTUTI Chiara, BAJON Jean-Yves, FAYOL Nicolas, KRASNOPOLSKY Basile, NGUYEN Ilan, PERRIN Géraldine, WALBAUM Ileana, MACE François
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« Le japonais, c’est possible. États généraux de l’enseignement du japonais en France ». Colloque organisé à l’occasion du 150e anniversaire de l’établissement des relations diplomatiques entre la France et le Japon. Université Toulouse II-Le Mirail, 15 novembre 2008.Des professionnels témoignent des avantages à pouvoir utiliser la langue japonaise dans leur métier respectif (entreprises industrielles, métiers culturels, monde économique et financier...). Mot(s) clés libre(s) : bilinguisme, compétences linguistiques et métier (témoignage), expérience professionnelle, japonais (langue)
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