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Academic literature on the topic 'Enactive knowledge'
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Journal articles on the topic "Enactive knowledge"
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Keane, Jondi, Rea Dennis, and Meghan Kelly. "Enacting Bodies of Knowledge." idea journal 17, no. 02 (2020): 13–31. http://dx.doi.org/10.37113/ij.v17i02.407.
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This article discusses a range of issues that arise when bringing together researcher-practitioners around the intersection of art and science, body and environment. Although prompted by the issues played out at the second international Body of Knowledge: Art and Embodied Cognition Conference, the article addresses over-arching concerns around transfer of knowledge that are played out at conferences, through exhibitions and performance, and in publications. The researchers of embodied cognition and arts practitioners/performers share a fascination with the way cognitive ecologies emerge to reveal the modes of thinking, feeling, moving and making that enact features of our shared environment. While theorists explore how enactive theories of cognition observe and track these dynamic changes, practitioners tend to reflect upon the changes their practice initiates. The intersections of diverse research approaches amongst such common ground highlight the need for space and air to allow tensions, blind spots, opportunities and potentials for knowledge production to become perceptible; to spark productive conversations. This article considers the conference as an instance of enactive research in which communities of practice gather in an attempt to change encounter into exchange. In this case, the organisational structure of the conference becomes a crucial design decision that enacts an event-space. Consequently, if the event-space is itself a research experiment, then conferral, diversity, inclusion and cultural practices become crucial qualities of movement to observe, track and reflect upon. The activities within and beyond the conference indicate the extent to which creative research platforms alongside embodied enactive research projects must collaborate to draw out the resonances between diverse modes of acquiring knowledge and co-constructing the environment.
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Amalia, Anisa Rizki, and Tri Nova Hasti Yunianta. "Deskripsi Proses Kognitif Siswa SMP dalam Menyelesaikan Masalah Matematika Berdasarkan Modes Of Representation Teori Bruner." Jurnal Review Pembelajaran Matematika 4, no. 1 (2019): 58–71. http://dx.doi.org/10.15642/jrpm.2019.4.1.58-71.
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There are three steps of cognitive processes, that is: 1) acquire new information, 2) transform information; and 3) test the relevance and accuracy of knowledge or evaluation. This study aims to describe the students the cognitive process of junior high school to solve mathematical problems based on Bruner's three modes of representation. The research is qualitative descriptive. The subjects were three students of junior high school; each of them is with high, medium, and low abilities. The results showed that the cognitive processes of high and medium abilities were able to acquire information and transform it to solve the problems in the enactive, iconic, and symbolic representation. For the testing relevance and accuracy, high-ability subject only works in the enactive representation. Middle-ability does in the enactive and symbolic representation. The low-ability subject was able to do all three cognitive processes on questions the enactive representation, but other questions in the iconic and symbolic representation cannot be solved.
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Jamaludin, Azilawati, Yam San Chee, and Caroline Mei Lin Ho. "Fostering argumentative knowledge construction through enactive role play in Second Life." Computers & Education 53, no. 2 (2009): 317–29. http://dx.doi.org/10.1016/j.compedu.2009.02.009.
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Wolff, Cecilia, and Mauricio Cárcamo. "Enactive or symbolic representation? When the order alters the product." VLC arquitectura. Research Journal 8, no. 1 (2021): 173. http://dx.doi.org/10.4995/vlc.2021.12534.
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<p>This paper reviews a pedagogic exercise related to the degree of Architecture being taught at the University of Chile. This exercise, which is based on the action of folding paper, integrates knowledge areas from the project learning in initial phases. To illustrate this, in the methodology section, the applied didactic strategy together with its theoretical sustenance are described and then followed by both a review of the activities of the project itself and the learning results. The exercise addresses the multidisciplinary features of our field in Architecture, since it encourages students to directly and intuitively solve physical, structural, geometric, aesthetic and functional issues in an integral manner, appealing and adding to their already acquired ability to do and think in an enactive manner. The outcome of this exercise gets deep into the relationship among a number of aspects which include the type of representation incidence in the projecting operation (iconic, symbolic and enactive representations) and its directions, i.e., from enactive to symbolic representation and vice versa. Furthermore, it also lays out the didactic strategies and teaching contributions of the study case. To conclude, the relevance of this practical approach concerning the relationship between form with these three types of representation is discussed, so students may apply their knowledge and experience acquired during their life in the first stages of their architectural training at university.</p>
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Williams, Roy, Simone Gumtau, and Jenny Mackness. "Synesthesia: From Cross-Modal to Modality-Free Learning and Knowledge." Leonardo 48, no. 1 (2015): 48–54. http://dx.doi.org/10.1162/leon_a_00937.
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In an integrated view of perception and action, learning involves all the senses, their interaction and cross-modality, rather than multi-modality alone. This can be referred to as synesthetic enactive perception, which forms the basis for more abstract, modality-free knowledge and a potential underpinning for innovative learning design. The authors explore this mode of learning in two case studies: The first focuses on children in Montessori preschools and the second on MEDIATE, an interactive space designed for children on the autistic spectrum that offers a “whole-body” engagement with the world.
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Parker, Sandra. "The dancer as documenter: An emergent dancer-led approach to choreographic documentation." Journal of Dance & Somatic Practices 11, no. 1 (2019): 67–80. http://dx.doi.org/10.1386/jdsp.11.1.67_1.
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Realigning the interrelationship between documentation, choreography and the lived moment of performance, this article asks how choreographic documentation practices can be reimagined to articulate deeper layers of embodied knowledge beyond a focus on movement patterns or gestures. Entrusting the dancer to drive the process, accentuating their expertise in perceiving and analysing bodily sensation, the article proposes a series of experimental documentation methods. These include the use of verbal language, the breaking down of choreographic continuity and linear phrasing, and ‘enactive’ filming, with repetition as an exploratory tool. Developed through practice, these methods consider the use of available technologies (laptops, smartphones, etc.), informed by theories of enactive perception. By relieving the tension between the immediacy of performance and choreography as a framework of previously defined choices and limits, the article focuses on the dancer as the primary asset in the documentation process, advocating their agency in articulating interior knowledge and lived bodily experience in documented forms.
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Rousi, Antti Mikael, Reijo Savolainen, and Pertti Vakkari. "A typology of music information for studies on information seeking." Journal of Documentation 72, no. 2 (2016): 265–76. http://dx.doi.org/10.1108/jd-01-2015-0018.
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Purpose – A need to renew music-related information notions arises from both information-seeking models and literature of musical semiotics. The purpose of this paper is to create a music information typology, which aims at facilitating the examination of music information types at varying levels of abstraction in the context of information seeking. Design/methodology/approach – Literature of musical semiotics and information seeking are juxtaposed to develop a novel approach to music-related information. The grounding concepts are Bruner’s enactive, iconic and symbolic modes of representation. The modes of representation offer a universal scheme of knowledge that is applied to the domain of music by defining their content through Tarasti’s Theory of Musical Semiotics. Findings – This conceptual paper results in a music information typology ranging from the enactive music information representations to the abstract ones as follows. Music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations. Originality/value – The present paper develops a music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. When applied into empirical research, the typology opens a new window into the perceived roles of music information types in the context of information seeking.
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Dierckxsens, Geoffrey. "Enactive Cognition and the Other: Enactivism and Levinas Meet Halfway." Journal of French and Francophone Philosophy 28, no. 1 (2020): 100–120. http://dx.doi.org/10.5195/jffp.2020.930.
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This paper makes a comparison between enactivism and Levinas’ philosophy. Enactivism is a recent development in philosophy of mind and cognitive science that generally defines cognition in terms of a subject’s natural interactions with the physical environment. In recent years, enactivists have been focusing on social and ethical relations by introducing the concept of participatory sensemaking, according to which ethical know-how spontaneously emerges out of natural relations of participation and communication, that is, through the exchange of knowledge. This paper will argue first that, although participatory sensemaking is a valuable concept in that it offers a practical and realistic way of understanding ethics, it nevertheless downplays the significance of otherness for understanding ethics. I will argue that Levinas’ work demonstrates in turn that otherness is significant for ethics in that we cannot completely anticipate others through participation or know-how. We cannot live the other’s experiences or suffering, which makes ethical relation so difficult and serious (e.g. care for a terminally ill person always falls short to a certain extent). I will argue next that enactivism and Levinas’ philosophy nevertheless do not exclude each other insofar they share a similar concept of subjectivity as a quality of naturally interacting with the external world to gain knowledge (Levinas speaks of dwelling). Finally, I will argue that enactivism’s notion of participatory sensemaking also offers something which Levinas’ insufficiently defines, namely a concept of social justice, based on equality and participation, that emerges out of natural relations.
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ESSL, GEORG, and SILE O'MODHRAIN. "An enactive approach to the design of new tangible musical instruments." Organised Sound 11, no. 3 (2006): 285–96. http://dx.doi.org/10.1017/s135577180600152x.
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In this paper, we propose a theoretical framework for the design of tangible interfaces for musical expression. The main insight for the proposed approach is the importance and utility of familiar sensorimotor experiences for the creation of engaging and playable new musical instruments. In particular, we suggest exploiting the commonalities between different natural interactions by varying the auditory response or tactile details of the instrument within certain limits. Using this principle, devices for classes of sounds such as coarse grain collision interactions or friction interactions can be designed. The designs we propose retain the familiar tactile aspect of the interaction so that the performer can take advantage of tacit knowledge gained through experiences with such phenomena in the real world.
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Gibellini, Laura F., and Ricardo Horcajada González. "Mayautics." Drawing: Research, Theory, Practice 7, no. 1 (2022): 125–37. http://dx.doi.org/10.1386/drtp_00083_1.
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Through analysis and codification of some images created by a 2-year-old child, the authors discuss the performative aspect of drawing as an embodied form of thinking that creates cognitive objects rather than images. We consider an enactive form of knowledge, based on the idea that the practitioner learns and understands while doing, while executing a movement. The ‘objects’ that are obtained in such process, which are constitutive of any graphic practice, would also need the totality of the body for its understanding.