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Books on the topic 'Sensory Processes, Perception and Performance'

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Published: 4 June 2021
Last updated: 19 February 2023

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1

1934-, Llinás Rodolfo R., and Churchland Patricia Smith, eds. The mind-brain continuum: Sensory processes. Cambridge, Mass: MIT Press, 1996.

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2

The neural bases of multisensory processes. Boca Raton: CRC Press, 2011.

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3

Falk, Bergen Adrienne, and Gottlieb Linda, eds. A normal baby: The sensory-motor processes of the first year. 2nd ed. Valhalla, N.Y: Valhalla Rehabilitation Publications, 1986.

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4

Pepper, Robert C. A multi-sensory approach to processing information & learning: An aspect of behavioral vision care. Santa Ana, CA: Optometric Extension Program, 1998.

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5

Berger, Dorita S. Music therapy, sensory integration and the autistic child. London: Jessica Kingsley, 2002.

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6

Elliott, Digby. Vision and goal-directed movement: Neurobehavioral perspectives. Champaign, IL: Human Kinetics, 2010.

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7

Tsotsos, John Konstantine. Analyzing vision at the complexity level: Constrains on an architecture, an explanation for visual search performance, and computational justification for attentive processes. Toronto: University of Toronto, Dept. of Computer Science, 1987.

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8

Derek, Chadwick, Diamond Mathew, and Goode Jamie, eds. Percept, decision, action: Bridging the gaps. Hoboken: Wiley, 2005.

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9

Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.
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10

(Editor), Kenneth R. Boff, Lloyd Kaufman (Editor), and James P. Thomas (Editor), eds. Handbook of Perception and Human Performance: Sensory Processes and Perception. Wiley-Interscience, 1986.

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11

Boff, Kenneth R., and Lloyd Kaufman. Handbook of Perception and Human Performance: Sensory Processes and Perception, Cognitive Processes and Performance (Two Volume Set). John Wiley & Sons Inc, 1986.

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12

Leech-Wilkinson, Daniel. Musical shape and feeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0028.

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The concept of shape is widely used by musicians in talking and thinking about performance, yet the mechanisms that afford links between music and shape are little understood. Work on the psychodynamics of everyday life by Daniel Stern and on embodiment by Mark Johnson suggests relationships between the multiple dynamics of musical sound and the dynamics of feeling and motion. Recent work on multisensory and precognitive sensory perception and on the role of bimodal neurons in the sensorimotor system helps to explain how shape, as a percept representing changing quantity in any sensory mode, may be invoked by dynamic processes at many stages of perception and cognition. These processes enable ‘shape’ to do flexible and useful work for musicians needing to describe the quality of musical phenomena that are fundamental to everyday musical practice and yet too complex to calculate during performance.
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13

Llinás, Rodolfo R., and Patricia Smith Churchland. Mind-Brain Continuum: Sensory Processes. The MIT Press, 1996.

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14

Thomas, James P., and Lloyd Kaufman. Handbook of Perception and Human Performance: Cognitive Processes and Performance (Handbook of Perception & Human Performance). Wiley-Interscience, 1986.

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15

Thomas, Jacob B. Spatial Memory: Visuospatial Processes, Cognitive Performance and Developmental Effects. Nova Science Publishers, Incorporated, 2010.

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16

Franchi, Dina. Performance profile of children with learning disabilities and sensory integration dysfunction: An underlying constructional abilities defect. 1998.

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17

Relationship of age and speed of response to verbal and visual-spatial performance. 1988.

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18

Kepner, Craig B. The effect of performance familiarity, listening condition and type of performance effort on correctness of performance error detection by 50 high school instrumentalists as explained through a sensory blocking theory. 1986.

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19

Effects of occluding segments of ball flight trajectory on the catching performance of children and adults. 1991.

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20

Effects of occluding segments of ball flight trajectory on the catching performance of children and adults. 1988.

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21

and, Bruno. Perception for Action. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198725022.003.0003.

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Our bodies are not static, and multisensory signals are constantly being processed to produce motor behaviours. This chapter will discuss how multisensory interactions shape three kinds of such behaviours: reaching and grasping objects with the hand, walking, and maintaining one’s posture. Motor control is inherently multisensory, as it involves combining anticipatory sensory signals from vision and proprioception, as well as, in some cases, other sensory channels, to prepare movements before they are actually initiated, and then combining online multisensory feedback to control movements while they are being executed. In addition, multisensory motor processes turn out to be important in understanding how we perceive agency, the awareness that our own minds are the agents that will allow our actions to take place, how we adapt to novel sensory environments, how we understand actions performed by others exploiting ‘mirror’ sensorimotor brain systems, and perhaps even why we can’t tickle ourselves.
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22

Calvert, Gemma A., Charles Spence, and Barry E. Stein, eds. The Handbook of Multisensory Processes. The MIT Press, 2004. http://dx.doi.org/10.7551/mitpress/3422.001.0001.

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A reference work for the emerging field of multisensory integration, covering multidisciplinary research that goes beyond the traditional "sense-by-sense" approach and recognizes that perception is fundamentally a multisensory experience. This landmark reference work brings together for the first time in one volume the most recent research from different areas of the emerging field of multisensory integration. After many years of using a modality-specific "sense-by-sense" approach, researchers across different disciplines in neuroscience and psychology now recognize that perception is fundamentally a multisensory experience. To understand how the brain synthesizes information from the different senses, we must study not only how information from each sensory modality is decoded but also how this information interacts with the sensory processing taking place within other sensory channels. The findings cited in The Handbook of Multisensory Processes suggest that there are broad underlying principles that govern this interaction, regardless of the specific senses involved. The book is organized thematically into eight sections; each of the 55 chapters presents a state-of-the-art review of its topic by leading researchers in the field. The key themes addressed include multisensory contributions to perception in humans; whether the sensory integration involved in speech perception is fundamentally different from other kinds of multisensory integration; multisensory processing in the midbrain and cortex in model species, including rat, cat, and monkey; behavioral consequences of multisensory integration; modern neuroimaging techniques, including EEG, PET, and fMRI, now being used to reveal the many sites of multisensory processing in the brain; multisensory processes that require postnatal sensory experience to emerge, with examples from multiple species; brain specialization and possible equivalence of brain regions; and clinical studies of such breakdowns of normal sensory integration as brain damage and synesthesia. Bradford Books imprint
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23

Berger, Dorita S. Music Therapy, Sensory Integration and the Autistic Child. Kingsley Publishers, Jessica, 2002.

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24

The relationships among gender, gender identity, competitive athletic experience, degree of lateralization, spatial visualization ability, and performance on a temporal/spatial task. 1987.

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25

The relationships among gender, gender identity, competitive athletic experience, degree of lateralization, spatial visualization ability, and performance on a temporal/spatial task. 1989.

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26

and, Bruno. Object Perception and Recognition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198725022.003.0004.

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Perceived objects are unitary entities that enter our consciousness as organized wholes distinct from other entities and from empty parts of the environment, that are amenable to bodily interactions, and that possess several features such as a three-dimensional structure, a location in space, a colour, a texture, a weight, a degree of rigidity, an odour, and so on. In this chapter, we will discuss perceptual processes responsible for forming such units within and between sensory channels, typically for the purpose of recognition. Our discussion of multisensory interactions in object perception will provide a useful domain for illustrating the key notion of optimal multisensory integration and for introducing Bayesian models of perception. These models provide important novel ways of addressing classical problems in the philosophy of perception, in influential historical approaches such as the Gestalt theory of perception, and in applications to rehabilitation based on sensory substitution.
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27

O'Callaghan, Casey. Perception and Multimodality. Edited by Eric Margolis, Richard Samuels, and Stephen P. Stich. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195309799.013.0005.

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The article presents some findings concerning multimodality, and the philosophical implications of these findings. One of the findings is that crossmodal illusions show that perception involves interactions among processes associated with different modalities. Patterns of crossmodal bias and recalibration reveal the organization of multimodal perceptual processes. Multimodal interactions obey intelligible principles, they resolve conflicts, and they enhance the reliability of perception. Multimodal processes also demonstrate a concern across the senses for common features and individuals, for several reasons such as the intermodal biasing and recalibration responsible for crossmodal illusions requires that information from sensory stimulation associated with different senses be taken to be commensurable. The commensurable information from different senses shares, or traces to, a common source since conflict resolution requires a common subject matter. One important lesson of multimodal effects is that an analog of the correspondence problem within a modality holds between modalities. Spatio-temporal unity, objectual unity, and integration are tied to the capacity to detect constancies and solve correspondence problems across modalities. Solving crossmodal correspondence problems requires a common modal or multimodal code that is shared among modalities.
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28

1950-, Elliott Digby, and Khan Michael A. 1966-, eds. Vision and goal-directed movement: Neurobehavioral perspectives. Champaign, IL: Human Kinetics, 2010.

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29

1950-, Elliott Digby, and Khan Michael 1966-, eds. Vision and goal-directed movement: Neurobehavioral perspectives. Champaign, IL: Human Kinetics, 2010.

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30

de lʼEtoile, Shannon. Processes of music therapy. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0046.

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This article reviews behavioural, psychoanalytic, and humanistic music therapy. It then discusses Neurologic Music Therapy (NMT), the Rational–Scientific Mediating Model (R–SMM), and the Transformational Design Model (TDM). NMT techniques address cognitive, sensory, and motor dysfunction resulting from disease of the human nervous system. NMT theory is founded in a neuroscience model of music perception, known as the R–SMM, which explains how music functions as a mediating stimulus. The R–SMM provides clear guidelines for conducting research regarding music's therapeutic effects. A supplemental model is needed, however, to assist the clinician in translating research findings from the R–SMM into everyday practice. TDM meets this need by providing a systematic, step-by-step approach to designing, implementing, and evaluating clinical interventions.
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31

Derek, Chadwick, Diamond Mathew, and Goode Jamie, eds. Percept, decision, action: Bridging the gaps. Chichester, UK: Wiley, 2006.

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32

Foundation, Novartis. Percept, Decision, Action: Bridging the Gaps (Novartis Foundation Symposia). Wiley, 2006.

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33

(Editor), Yvette Hatwell, Arlette Streri (Editor), and Edouard Gentaz (Editor), eds. Touching for Knowing: Cognitive Psychology of Haptic Manual Perception (Advances in Consciousness Research, 53). John Benjamins Publishing Co, 2003.

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34

Dahlstedt, Palle. Action and Perception. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.4.

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While computational models of human music making are a hot research topic, the human side of computer-based music making has been largely neglected. What are our cognitive processes like when we create musical algorithms, and when we compose and perform with them? Musical human–algorithm interaction involves embodied action, perception and interaction, and some kind of internalization of the algorithms in the performer’s mind. How does the cognitive relate to the physical here? Departing from the age-old mind–body problem, this chapter tries to answer these questions and review relevant research, drawing from a number of related fields, such as musical cognition, cognition and psychology of programming, embodied performance, and neurological research, as well as from the author’s personal experience as an artist working in the field.
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35

Mason, Peggy. Perceiving the World. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190237493.003.0014.

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As exemplified by sensory illusions, perception is interpretative rather than faithfully representational of the changes in the world. All perceptual pathways involve stimulus transduction, transmission, and modulation before sensory events are coded by the nervous system. The set of stimuli that humans respond to are a subset of the stimuli that elicit reactions across the animal kingdom. The brain processes visual, auditory, mechanical, and vestibular stimuli by breaking stimuli into their sinusoidal components for neuronal processing. The probabilistic response of sensory receptors to stimulation within a receptive field is described. A fundamental property of sensory perception is responsiveness to a wide range of stimulus intensities over several orders of magnitude. Yet, at any one time, the response to a stimulus is proportional to the background level of stimulation. The concept of labeled line sensory transmission is described, and the reality of multimodal integration is revealed through examples.
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36

and, Bruno. A Multisensory Perspective. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198725022.003.0001.

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Perception may be defined as the cognitive process that lets us know what is out there, based on incoming sensory signals. Standard textbook accounts often emphasize five modular ‘senses’ encoding such signals. In the perspective presented in this book, instead, perception is inherently multisensory and linked to exploratory action. Perceptual processes do not merely encode incoming sensory signals, they actively explore the environment, seeking informative stimulation from potential multisensory sources and they combine available signals through several multisensory interactions. Studying perception within a multisensory, rather than modular perspective, requires a systemic approach, and this book illustrates how this notion can be successfully applied to eight domains of perception in natural conditions: knowing our own body, controlling its movements, perceiving inanimate objects, perceiving edible objects, understanding the intriguing phenomenon known as synaesthesia, attending to objects in multisensory conditions, perceiving space, and perceiving time.
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37

Cohen, Marlene R., and John H. R. Maunsell. Neuronal Mechanisms of Spatial Attention in Visual Cerebral Cortex. Edited by Anna C. (Kia) Nobre and Sabine Kastner. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199675111.013.007.

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Attention is associated with improved performance on perceptual tasks and changes in the way that neurons in the visual system respond to sensory stimuli. While we now have a greater understanding of the way different behavioural and stimulus conditions modulate the responses of neurons in different cortical areas, it has proven difficult to identify the neuronal mechanisms responsible for these changes and establish a strong link between attention-related modulation of sensory responses and changes in perception. Recent conceptual and technological advances have enabled progress and hold promise for the future. This chapter focuses on newly established links between attention-related modulation of visual responses and bottom-up sensory processing, how attention relates to interactions between neurons, insights from simultaneous recordings from groups of cells, and how this knowledge might lead to greater understanding of the link between the effects of attention on sensory neurons and perception.
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38

Doyle, Cameron M., and Kristen A. Lindquist. Language and Emotion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190613501.003.0022.

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Growing evidence suggests that emotion perception is psychologically constructed when processes in the mind of the perceiver, such as emotion concept knowledge, impact how visual sensations are made meaningful as instances of different emotions. In this chapter, we propose three key psychological constructionist hypotheses about facial emotion perception: (1) facial muscle movements do not automatically communicate emotion, (2) conceptual knowledge that is supported by language is used to make meaning of facial muscle movements and construct perceptions of emotion, and (3) language enables perceivers to see emotion on faces by reactivating sensorimotor representations of prior experiences that shape perception of the present sensory array in a top-down manner. We discuss growing evidence in support of these psychological constructionist hypotheses of emotion perception.
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39

Barwich, Ann-Sophie. Measuring the World. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779636.003.0017.

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How much does stimulus input shape perception? The common-sense view is that our perceptions are representations of objects and their features and that the stimulus structures the perceptual object. The problem for this view concerns perceptual biases as responsible for distortions and the subjectivity of perceptual experience. These biases are increasingly studied as constitutive factors of brain processes in recent neuroscience. In neural network models the brain is said to cope with the plethora of sensory information by predicting stimulus regularities on the basis of previous experiences. Drawing on this development, this chapter analyses perceptions as processes. Looking at olfaction as a model system, it argues for the need to abandon a stimulus-centred perspective, where smells are thought of as stable percepts, computationally linked to external objects such as odorous molecules. Perception here is presented as a measure of changing signal ratios in an environment informed by expectancy effects from top-down processes.
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40

Gallagher, Shaun. Making Enactivism Even More Embodied. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794325.003.0008.

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An enactivist approach to understanding the mind, in its fullest sense, is not just a matter of action-oriented processes; enactivism is about more than action and sensory–motor contingencies. To understand cognition as richly embodied this chapter considers factors involving affectivity and intersubjectivity. Empirical studies show that affectivity, in a wide sense that includes hunger, fatigue, pain, respiration, as well as emotion, has an effect on perception, attention, and judgment. Likewise, intersubjective factors, including the role of bodily postures, movements, gestures, gaze and facial expressions, and dynamical aspects of interaction, have similar effects. This richer conception of embodied cognition also holds implications for understanding how the brain works.
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41

and, Bruno. Time. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198725022.003.0008.

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Within the traditional notion of the senses, the perception of time is especially puzzling. There is no specific physical energy carrying information about time, and hence no sensory receptors can transduce a ‘temporal stimulus.’ Time-related properties of events can instead be shown to emerge from specific perceptual processes involving multisensory interactions. In this chapter, we will examine five such properties: the awareness that two events occur at the same time (simultaneity) or one after the other (succession); the coherent time-stamping of events despite inaccuracies and imprecisions in coding simultaneity and succession (temporal coherence); the awareness of the temporal extent occupied by events (duration); the organization of events in regular temporal units (rhythm).
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42

Walsh, Vincent. A Theory of Magnitude. Edited by Roi Cohen Kadosh and Ann Dowker. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199642342.013.64.

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In this chapter, I review the evidence that has tested A Theory of Magnitude (ATOM) and extend the idea to build a bridge between ATOM and metaphorical theories of time and space perception. There is now substantial evidence to support the idea of common processing mechanisms for time, space, and number, but this is constrained by the evidence largely coming from perceptual or psychophysical studies. The chapter ends by outlining a series of outstanding problems in understanding magnitude representation. Key amongst these problems are the links between sensory and metaphorical processing, the links between prelinguistic and linguistic associations, and a clearer understanding of the developmental processes involved in the construction of magnitude representations.
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43

MacNamara, Annmarie, and K. Luan Phan. Neurocircuitry of Affective, Cognitive, and Regulatory Systems. Edited by Christian Schmahl, K. Luan Phan, Robert O. Friedel, and Larry J. Siever. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199362318.003.0001.

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This chapter provides a review and synthesis of the neurocircuitry involved in affect and cognition and their interactions as it relates to regulatory functions. Cognition and emotion are considered together taking a more integrated, functional perspective. The chapter first gives an overview regarding structure and function of key brain regions, that is, prefrontal and cingulate regions, insula, and subcortical regions, as well as other temporal-parietal-occipital regions. Following this overview, the chapter proceeds with summarizing key neuroscientific findings as organized by cognitive processes and their relevance for emotion. The choice of processes reflects the key stages involved in responding to a stimulus, from the time of sensory input to behavioral response/output, namely perception, learning and memory central executive functions, cognitive appraisal, and reappraisal. The overall aim of the chapter is to provide a better understanding of cognitive-emotional interactions at the neurocircuit level.
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44

Zanto, Theodore P., and Adam Gazzaley. Attention and Ageing. Edited by Anna C. (Kia) Nobre and Sabine Kastner. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199675111.013.020.

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This chapter addresses how normal ageing may affect selective attention, sustained attention, divided attention, task-switching, and attentional capture. It is not clear that all aspects of attention are affected by ageing, especially once changes in bottom-up sensory deficits or generalized slowing are taken into account. It also remains to be seen whether deficits in these abilities are evident when task demands are increased. Age-based declines have been reported during many tasks with low cognitive demands on various forms of attention. Fortunately, the older brain retains plasticity and cognitive training and exercise may help reduce negative effects of age on attention. Although no single theory of cognitive ageing may account for the various age-related changes in attention, many aspects have been taken into account, such as generalized slowing, reduced inhibitory processes, the retention of performance abilities via neural compensation, as well as declines in performance with increased task difficulty.
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45

Skoulding, Zoë. Poetry & Listening. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621792.001.0001.

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Listening has always mattered in poetry, but how does poetry change when listening has been transformed? In Poetry and Listening: The Noise of Lyric, the field of sound studies, which has revolutionised research in contemporary music, is brought into dialogue with new lyric criticism. Examining poetry as mediated by performance, technology and translation, this book discovers how contemporary poetry has been re-energised by the influence of recorded sound and influenced by the creative methods that emerged with it. It offers an exploration of contemporary poetry’s acoustic contexts, moving beyond traditional analysis of poetic form to consider the social, political and ecological dimensions of a poem's sounds and silences. Through detailed discussion of innovative English-language poetry from the UK and USA, including works by Denise Riley, Sean Bonney, Caroline Bergvall, Mei-mei Berssenbrugge, Carol Watts, Claudia Rankine, Vahni Capildeo, Tom Raworth, Emma Bennett, Jonathan Skinner, Holly Pester, Tracie Morris, Hannah Silva, Rhys Trimble, Peter Hughes, Jeff Hilson and Tim Atkins, it argues for the centrality of listening to a form of composition in which language not only represents sonic experience but is part of it. With reference to Jean-Luc Nancy’s distinction between hearing and listening, alongside other key theorists of sound and noise, it shows how poetry offers insights into sensory perception, and how it charts acoustic relationships between language and the environment.
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46

Jarjour, Tala. Suryaniness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0005.

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This chapter, and the next two, considers foundational notions in value perception and construction. The chapters form a sequence, about three closely entwined components of value: identity, authority, and performance. They suggest that local modes of value may be understood in music through the performative articulation of specific processes of identity and authority negotiation. Those processes take place where sociality intersects with deeper forms of value agreement. This chapter is about Suryaniness, which it explains as a performed sense of identity in two ways: first, through the association of Suryani ethnic spirituality with Edessa (rather than Urfa) and its language; second, in relation to a sacredness in the perceived textual and melodic origins of chant. Significance in music perception and meaning construction is related here to questions of place and space, and to a process of authentication, which is the manifestation of an internally agreed sense of originality.
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47

Guss-West, Clare. Attention and Focus in Dance. Human Kinetics, 2021. http://dx.doi.org/10.5040/9781718212718.

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The Western approach to dance is largely focused on control and mastery of technique, both of which are certainly necessary skills for improving performance. But mindful attention, despite its critical role in high performance, has gotten short shrift—until now. Attention and Focus in Dance, a how-to book rooted in the 20 years of attentional focus findings of researcher Gabriele Wulf, will help dancers unlock their power and stamina reserves, enabling efficient movement, heightening their sensory perception and releasing their dance potential. Author Clare Guss-West—a professional dancer, choreographer, teacher and holistic practitioner—presents a systematic, science-based approach to the mental work of dance. Her approach helps dancers hone the skills of attention, focus and self-cueing to replenish energy and enhance their physical and artistic performance. A Unique, Research-Based Approach Here is what Attention and Focus in Dance offers readers: • A unique approach, connecting the foundations of Eastern movement with Western movement forms • Research-based teaching practices in diverse contexts, including professional dance companies, private studios, and programmes for dancers with special needs or movement challenges • Testimonies and tips from international professional dancers and dance educators who use the book's approach in their training and teaching • A dance-centric focus that can be easily integrated into existing training and teaching practice, in rehearsal, or in rehabilitation contexts to provide immediate and long-term benefits Guss-West explores attentional focus techniques for dancers, teachers and dance health care practitioners, making practical connections between research, movement theory and day-to-day dance practice. “Many dancers are using excessive energy deployment and significant counterproductive effort, and that can lead to a global movement dysfunction, lack of stamina and an increased risk of injury,” says Guss-West. “Attentional focus training is the most relevant study that sport science and Eastern-movement practice can bring to dance.” Book Organisation The text is organised into two parts. Part I guides dancers in looking at the attentional challenges and information overload that many professional dancers suffer from. It outlines the need for a systematic attention and focus strategy, and it explains how scientific research on attentional focus relates to dance practice. This part also examines the ways in which Eastern-movement principles intersect with and complement scientific findings, and it examines how the Eastern and scientific concepts can breathe new life into basic dance elements such as posture, turnout and port de bras. Attention and focus techniques are included for replenishing energy and protecting against energy depletion and exhaustion. Part II presents attention and focus strategies for teaching, self-coaching and cueing. It addresses attentional focus cues for beginners and for more advanced dancers and professionals, and it places attentional focus in the broader context of holistic teaching strategies. Maximising Dance Potential “Whether cueing others or yourself, cueing for high performance is an art,” Guss-West says. “Readers will discover how to format cues and feedback to facilitate effective neuromuscular response and enhance dancer recall of information and accessibility while dancing.” Attention and Focus in Dance offers an abundance of research-backed concepts and inspirational ideas that can help dancers in their learning and performance. This book aids readers in filtering information and directing their focus for optimal physical effect. Ultimately, it guides dancers and teachers in being the best version of themselves and maximising their potential in dance.
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48

Fraleigh, Sondra. Somatic Movement Arts. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039409.003.0002.

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This chapter discusses somatic movement arts and provides an extensive definition of movement-based somatic practices. The chapter describes somatics as a kinesthetic field for study and cultivation of movement arts, including the author’s experiences and conceptualizations of somatic methods in dance performance. The chapterbegins with a thumbnail sketch of somatic history, noting how somatic inquiry was buoyed by growth of existentialism and phenomenology, before considering the relationship of somatics to affect attunement, kinesthesia, and matching through touch. It also explains somatic methods, including those based on movement, and possible selves; the somatic affects of butoh; haptic perception, clearing processes, and repatterning; and the ways that soma promotes healing. The chapter concludes by outlining some Shin Somatics movement-based experiences and methods that the author and her colleagues explore with students and clients.
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49

Karoly, Paul. Chronic Pain and Psychopathology. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190627898.003.0010.

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This chapter presents a motivational model designed to forge conceptual and empirical links among chronic pain perception, cognitive-affective pain processing, everyday task performance, and the emergence of psychopathology. Organized around the GRASSP perspective (introduced in chapter 1), the current chapter first addresses the nature of multi-leveled (top-down and bottom-up) regulatory/control systems and the hypothesized motivational mechanisms around which such systems are organized. Based on the twin premises that (a) dysfunctions of the goal-guided, self-regulatory system underlie most forms of psychopathology, and (b) chronic pain can disrupt goal- and self-regulatory system functioning, the chapter seeks to locate chronic pain and two prominent forms of psychological disturbance—depression and anxiety—within a broad, heuristic “motivational context.” Among the key explanatory building blocks of the hypothesized model are goal episodes, extended goal striving processes, and four moderation pathways hypothesized to connect pain-related disruptions of self-regulation to the eventual emergence of depression and/or anxiety.
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