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1
Irving, Chauntee. "CLASS/ACT EMBODIED PRACTICES FOR PERFORMATIVE PEDAGOGY." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5881.
Повний текст джерелаАнотація:
Class/Act: Embodied Practices for Performative Pedagogy is a personal and practical exploration of embodiment’s role in higher education acting pedagogy. In my thesis, I propose that embodied acting practices rooted in phenomenology and corporeal dramaturgy surpass conventional acting curricula. Embodied training is often confused with movement curricula and is regularly considered a shallow and/or unintelligent means to approaching acting work. However, I will argue the efficiency and effectiveness of embodied teaching techniques in four parts. Part One: Seeing is a retrospective of how my personal experiences outside of the classroom have drawn me toward embodied aesthetics. Part Two: Knowing unveils my research of embodiment, its origins, and its impact on theatrical disciplines. Part Three: Being/Doing is an in-depth look into diverse schools of acting and how they fall short of fully embracing embodied practices. Part Four: Becoming is an introduction to my creation of an embodied business approach for actors called Professional Embodied Preparation (PEP) and continues the discussion of embodiment’s transformative influence and integration into the higher education curricula. Throughout the thesis, I hope to prove that embodied acting pedagogy is an essential tool for providing greater efficiency, proficiency, and auto-didacity for the pre-professional actor in the academic classroom and beyond.
2
Haynes, Rachael Anne. "Embodied vulnerabilities : responding to violent encounters through installation practices." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/27663/1/Rachael_Haynes_Thesis.pdf.
Повний текст джерелаАнотація:
This practice-led research was initiated in response to a series of violent encounters that occurred between my fragile installations and viewers. The central focus of this study was to recuperate my installation practice in the wake of such events. This led to the development of a ‘responsive practice’ methodology, which reframed the installation process through an ethical lens developed from Emmanuel Levinas’ ethical phenomenology. The central propositions of this research are the reconceptualisation of ‘violent encounters’ in terms of difference whereby I accept viewers responses, even those which are violent, destructive or damaging, and secondly that the process operates as a generative excess for practice through which recuperative strategies can be found and implemented. By re-examining this process as it unfolded in the three phases of the practical component, I developed strategies whereby violated, destroyed or damaged works could be recuperated through the processes of reconfiguration, reparation and regeneration. Therefore my installations embody and articulate vulnerability but also demonstrate resilience and renewal.
3
Haynes, Rachael Anne. "Embodied vulnerabilities : responding to violent encounters through installation practices." Queensland University of Technology, 2009. http://eprints.qut.edu.au/27663/.
Повний текст джерелаАнотація:
This practice-led research was initiated in response to a series of violent encounters that occurred between my fragile installations and viewers. The central focus of this study was to recuperate my installation practice in the wake of such events. This led to the development of a ‘responsive practice’ methodology, which reframed the installation process through an ethical lens developed from Emmanuel Levinas’ ethical phenomenology. The central propositions of this research are the reconceptualisation of ‘violent encounters’ in terms of difference whereby I accept viewers responses, even those which are violent, destructive or damaging, and secondly that the process operates as a generative excess for practice through which recuperative strategies can be found and implemented. By re-examining this process as it unfolded in the three phases of the practical component, I developed strategies whereby violated, destroyed or damaged works could be recuperated through the processes of reconfiguration, reparation and regeneration. Therefore my installations embody and articulate vulnerability but also demonstrate resilience and renewal.
4
Niemelä, M. (Maarit). "Resonance in storytelling:verbal, prosodic and embodied practices of stance taking." Doctoral thesis, Oulun yliopisto, 2011. http://urn.fi/urn:isbn:9789514294174.
Повний текст джерелаАнотація:
Abstract This study examines stories as they appear in everyday conversation, focusing on the high degree of parallelism observed in them. Such parallelism is shown to be a vehicle of stance taking in interaction. Stance taking is here viewed as a highly intersubjective and interactive, public, multi-layered activity, which involves words, linguistic structures, voices, the body and the surrounding environment, and is embedded in the sequential organisation of social interaction. Stance taking involves various types of resonance between two interaction participants and also between the interactional turns of one participant. The concept of resonance is treated as the process of activating affinity across dialogic turns of talk within a telling or a series of tellings. The present study uses both audio and video recordings of naturally-occuring everyday interactions as data. The study first shows that voiced direct reported speech (DRS) utterances displaying a shared stance are an appropriate response to prior voiced DRS utterances and that a sequence of subsequent resonant voiced DRS utterances is an orderly phenomenon in interaction and a sequentially relevant practice of stance taking. Secondly, the study explicates the way in which participants use resonant words, structures, voicing and embodiment, and implicate the surrounding environment in constructing a reporting space. The reporting space enables and invites active participation in the form of multimodal enactments from all the participants of the telling event to the overall stance-taking activity within the storytelling sequence. Thirdly, the study details the use of resonating formal storytelling elements functioning as a resource for stance taking, e.g. the preface of a second telling by second tellers ties back to the preface and the high point of a prior telling. Finally, the study examines the way in which multiple actions, such as troubles telling, delivering news, giving an explanation and requesting advice, are accomplished via repeated tellings of a story in different interactional contexts. Similar structural units of such tellings resonate in form, whereas some lexico-syntactic details of these units vary according to the social actions that are being accomplished via the tellings, according to the engagement of the recipient in the telling and to the physical circumstances of the tellingTiivistelmä Tutkimus tarkastelee arkikertomuksissa ilmeneviä parallellismin muotoja ja sitä miten nämä rakentavat vuorovaikutuksellista asennoitumistoimintaa. Asennoituminen nähdään monisäikeisenä intersubjektiivisena ja interaktiivisena toimintana, joka rakentuu puhujien sanojen, kielellisten rakenteiden, äänen ja kehon keinoin. Samanaikaisesti se rakentuu vuorovaikutuksen sosiaalisten toimintojen ja niiden sekventiaalisen järjestyksen tuloksena. Asennoitumistoimintaa ilmentää eriasteinen resonanssi pääasiassa eri puhujien mutta myös yhden puhujan eri vuorojen välillä: Puhujan resonoiva vuoro sitoo sen edellisen arkikertomuksen tai arkikertomussarjan vuoroihin aktivoiden näin yhtäläisyyden vuorojen välillä. Ilmiöitä tarkastellaan vuorovaikutuslingvistiikan ja keskustelunanalyysin menetelmin. Tutkimuksen aineisto koostuu englannin- ja suomenkielisistä äänitetyistä ja videoiduista arkikeskusteluista. Tutkimus osoittaa, että kertomistapahtumaan osallistuvat puhujat tuottavat kertomusten huippukohdissa kohosteisia referointivuoroja vastauksina aiempien kertojien kohosteisiin referointivuoroihin. Puhujat ilmaisevat tällä tavalla asennoitumistaan yhtäältä kerronnan sisältöön ja toisaalta edeltävien vuorojen ilmentämään asennoitumistoimintaan. Tutkimuksessa kartoitetaan myös sitä, miten puhujat rakentavat asennoitumista sanojen, kielellisten rakenteiden, prosodian ja kehollisten keinojen avulla. Kertomusten huippukohdissa puhujat referoivat roolihenkilöitä puheen lisäksi myös kehollisin keinoin, mitä tutkimuksessa kutsutaan roolissa toimimiseksi. Vastaanottajat voivat vastata asettumalla itsekin rooliin. He osoittavat ymmärtävänsä kertojan näkökulman tuottamalla kertomuksen sisältöön ja kertojan ilmentämiin asenteisiin sopivia samanlinjaisia lisävuoroja. Edelleen tutkimus kuvailee nk. toisen kertomuksen kielellisiä, prosodisia ja kehollisia elementtejä, jotka resonoivat edeltävän kertomuksen vuorojen elementtien kanssa ja joiden avulla asennoitumistoiminta rakentuu. Kertojat viittaavat toisen kertomuksen vuoroillaan edellisen kertomuksen vuoroihin aktivoiden yhtäläisyyksiä yhtäältä kyseisten resonoivien vuorojen ja toisaalta edeltävän ja toisen kertomuksen asennoitumistoimintojen välillä. Lisäksi tutkimuksessa tarkastellaan samansisältöisiä peräkkäisiä arkikertomuksia, jotka on tuotettu eri vastaanottajille. Kertoja tuottaa samansisältöisten kertomusten avulla eri toimintoja vastaanottajasta ja vuorovaikutusympäristöstä riippuen. Kertomusten välillä on resonoivia rakenteellisia yhtäläisyyksiä, mutta ne myös poikkeavat toisistaan sosiaalisen toiminnon sekä vastaanottajan sitoutumisen asteen ja ympäröivien olosuhteiden mukaan
5
Geyer, Florian [Verfasser]. "Interactive Spaces for Supporting Embodied Collaborative Design Practices / Florian Geyer." Konstanz : Bibliothek der Universität Konstanz, 2013. http://d-nb.info/104706314X/34.
Повний текст джерела
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Geyer, Florian [Verfasser]. "Interactive Spaces for Supporting Embodied Collaborative Design Practices / Florian Geyer." München : Verlag Dr. Hut, 2014. http://d-nb.info/105033194X/34.
Повний текст джерела
7
Palacios, Rosario. "Everyday practices in public places : embodied understandings of post-dictatorship Chile." Thesis, London School of Economics and Political Science (University of London), 2008. http://etheses.lse.ac.uk/2016/.
Повний текст джерелаАнотація:
The thesis explores Chilean people's ways of making sense of their contemporary world in the post-dictatorship period at the level of the everyday. Drawing on the study of practices in two public places in Santiago, Chile, I unravel users' understandings of political, economic and cultural topics. Place is a central element in my approach to practices. My exploration of practices is rooted in a spatial analysis of my study sites, Plaza de Armas and Parque Forestal. I show how the way in which we make sense of the world is not an abstract construct but is based in ordinary experience situated in place. I affirm there is a sense of strangeness and marginality regarding present-day Chile because there is little common ground amongst the increasing diversity of understandings. The group of Chileans under study may have been linked in the past by the common reference of institutions, but now they are more distant from institutional frameworks and more involved with their personal lives in the present. In this light, social segregation is increasing and imagination appears as a constituent feature of Chilean subjectivity in the new times. On the one hand, regarding social segregation, I argue that a new form of social segregation has emerged in post-dictatorship Chile. It is a form that is linked not merely with material inequality, family origins, ethnicity and location within the city, but also with the impossibility of dialogue regarding people's different understandings of Chile's new times. On the other hand, I describe and analyse how individuals' deep, practical engagement with the material and social form of their world allows them to imagine in a way that is rooted within their everyday life. Their material imagination opens a door for new ways of belonging to their world. I argue that people's practices should be taken into account in order to understand the way they make sense of present-day Chile. Individuals' expectations and values are involved in their practices, together with their biographies and everyday social interactions. Hence, 1 disagree with theoretical reflections on Chile's new times or macrostructure analyses that miss the link between socially constructed understandings of Chile and people's everyday living.
8
Lloyd, Bethan A. "Embodied, coordinating, and ethical practices, women's frontline work in employability enhancement programs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0021/NQ49277.pdf.
Повний текст джерела
9
Dryden, Tracy. "Carrying on together : making embodied skills and practices within mental health care visible." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556625.
Повний текст джерелаАнотація:
Foreword Tracy Dryden was a mental health nurse deeply concerned that the value of nursing practice - and patient care - was being undermined by policies that constrained colleagues to work in a rigid manner. Tracy's doctoral thesis explored in painstaking detail the insecurity which threatens to destabilise mental health nursing expertise and the risks for service users which restrictive and exclusive use of 'evidence-based' resources can incur. In doing so she found a way to trace, make visible and give value to mental health nurses' skills. Her tragic and untimely death means that this work is unfinished. Tracy died only a few months before the expected submission of this thesis, therefore, we as her supervisors have collated the drafts of each chapter and present them here for examination. We have given these drafts only a cursory edit to improve the presentation of her ideas. We have purposely refrained from developing these ideas in any way. There are sections which Tracy had highlighted as requiring development or clarification. These notes to herself, and the accompanying sections of text, we have left unchanged so as to allow the examiners further insight into the level at which Tracy was working. The argument of the thesis may lack the finesse it would have attained in the final revisions, as Tracy worked with the thesis as a whole, but we believe that even as it stands, it is strong and coherent. We would like to see Tracy's work published in the near future, and available to those she writes so passionately and thoughtfully about. We would welcome the examiners thoughts on this matter. Although it is impossible for us to write Tracy's acknowledgements, we know without question that she would have wanted to express her deepest thanks to her family - her children Lee and Owen, and her mum, dad and sister - without whose love, help, unfaltering support and understanding, she could not have even attempted this work. Dawn Goodwin and Maggie Mort Preface I walk into the large open-plan nurses' office at the community mental health resource centre, one week before I am due to return to work as a community mental health nurse (CMHN). It has been three years since I left to take a career break in order to pursue my Ph. D. Lynda, one of my colleagues (who has worked as a CMHN with this team for over ten years) greets me enthusiastically with a smile and asks me if I am returning to work. She then informs me that she is leaving her position shortly. She has secured a place on the Behavioural Therapy IAPT (insert explanation of this) course Cognitive Behavioural Therapy (CBT) training course. This course will enable her to gain a position as a CBT specialist. I ask her whether she will return to the CMHN team. She replies: Don't be silly, Tracy, I am through with all this stuff we receive as nurses. I want to do something that is ... She searches for a word but fails to find the right one. Instead, she holds up her hands as if trying to make the shape of something tangible. She continues: ... And something that I can say what it is that I am doing. It's ridiculous. What on earth have you been doing for the last three years that only brings you back to this? I can't believe you're coming back. There must be something better you want to do! We both laugh. But I am sad: Lynda has always been a valued member of staff within the community mental health nursing team. However, I remember how she, alongside other nursing colleagues used to express frustration and anger inferring that, as nurses they were always given what I often heard described as the 'dirty work'. In one sense it is shameful to describe it this way; clients do not chose to have problems and needs that do not fit into well-defined, 'clean' categories. However, I think that these nurses mean it more in the sense that it is the work that their multi disciplinary mental health colleagues, for example psychologists (who may specialise in art, drama and psychodynamic therapies) and clinicians that specialise in specific therapies (such as, cognitive behavioural or solution focussed approaches), will not accept - the leftovers. These nurses perceive the psychologists and other specialists as taking all the 'clean' and 'tidy' work that can be neatly categorised into their specialist protocols. The untidy work that remains - the clients that are referred to the nursing team - have complex issues that cannot easily be categorised. These clients are often vulnerable, they may be at risk to themselves and others, they sometimes have a history of committing crimes, and many have a number of 'working diagnoses' as opposed to one confirmed diagnosis. That is, a client is thought to be depressed and so the clinician works towards treating this, yet it is questionable as to whether they may have another disorder such as a personality disorder.
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Oxley, David Richard III, and david oxley@rmit edu au. "Role of Prefabricated Modular Housing Systems in Promoting Sustainable Housing Practices." RMIT University. Civil and Chemical Engineering, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070119.150328.
Повний текст джерелаАнотація:
The use of modular construction systems for residential purposes currently represents a very small proportion of all housing construction. The focus of these systems is on niche markets typified as cheap alternatives, homeowner involvement in construction or adaptations to construction constraints (build time availability, site access, etc.). Governments, regulatory bodies and industrial members are progressively moving towards increased environmentally sustainable practice. This progression is evidenced by the development of design and construction rating tools and the introduction of statutes and regulations governing construction and design. This work investigates the improvement of residential construction practice in terms of environmental sustainability outcomes through the use of modular housing systems. Two key aspects of environmental sustainability identified are embodied energy and material waste reduction. A modular system has been investigated because methods and procedures that directly relate to these two areas are well addressed by such systems. In order to validate the potential of modular systems in this environmental regard, three main areas have been addressed. The first is the ability for modular systems to generate the type of floor plans currently offered by Australian high-volume builders. Second, the environmental improvement potential offered by modular systems is addressed. Lastly are the issues of structural performance and the means of the tailoring of prefabricated modular systems to residential construction standards. Through the treatment of these three areas, potential benefits of modular systems are identified, with future work necessary to implement such benefits highlighted. The need for such improvements is noted, and a framework for evaluating future developments in this area of research is presented.
11
Barboza, Muniz Bruno. "An affective and embodied push to Bourdieu's dispositional model : Funk's cultural practices in Rio de Janeiro." Thesis, London School of Economics and Political Science (University of London), 2015. http://etheses.lse.ac.uk/3384/.
Повний текст джерелаАнотація:
Baile funk is a music scene historically associated with blackness and impoverished areas of Rio de Janeiro. This music has been gaining in visibility over the last three decades. Nevertheless, stigmatization and official repression co-exist with its popularity. Funk’s pervasiveness, even among the upper classes, does not seem to eradicate prejudice against producers and fans. This thesis investigates struggles for equal rights and full citizenship using funk by looking at the mediation and appropriation of funk music by the government, journalists, activist groups and funk creators themselves. This investigation refers to interviews, documents, videos and photographs. Hence, the methodology employed relies on a combination of ethnographic methods, including visual ethnography, and the analysis of semi-structured interviews. Sociologists have associated popular culture with a lack of legitimacy and autonomy, opposing it to pure art and its disinterested approach to worldly life. Indeed, the creation of baile funk music is not a disinterested activity. While funk producers may have commercial interests, they do, nevertheless, also get involved in political matters and local community issues, dealing with structural constraints through their bodies, political activism and affective labour. Lastly, those creating funk demand the freedom to create, the possibility of occupying different spaces of the city and recognition as aesthetic agents.
12
Russell, Laura D. "Narrating the Habits of Workaholism and Recovery: A Phenomenological Investigation of Embodied Practices for Well-being." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1304516947.
Повний текст джерела
13
Masdeu, Torruella Irene. "Mobilities and embodied transnational practices: An ethnography of return(s) and other intersections between China and Spain." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/285193.
Повний текст джерелаАнотація:
Aquesta investigació té com a objectiu analitzar els vincles transnacionals i les pràctiques de retorn de les persones xineses que viuen a l’Estat espanyol des d’una perspectiva intergeneracional.
L’estudi consisteix en una etnografia centrada a Qingtian, a la provincial de Zhejiang, que és el lloc de procedència de bona part dels xinesos que resideixen a l’Estat Espanyol. Aquesta tesis analitza els moviments de retorn tenint en compte la diversitat de pràctiques transnacionals entre Xina i l’estat Espanyol que perfilen la vida diària dels migrants procedents de Qingtian.
Aquesta investigació no conceptualitza el retorn com una realitat aïllada i desvinculada d’altres pràctiques socials, sinó que s’aproxima a aquest fenomen a través de l’estudi d’altres formes de mobilitat i pràctiques transnacionals. Per això, l’etnografia no es centra únicament en els moviments, les trajectòries i experiències dels retornats, sinó que adopta una perspectiva relacional per tal d’explorar el rol de diferents actors social, de diferents espais i moviments en els actuals processos de migració.
Per tal de d’assolir aquest objectiu s’ha desenvolupat un model analític que inclou les diferents pràctiques transnacionals en funció del seu grau de materialització física: des dels moviments de persones (visites, migració I retorn), a les mobilitats desenvolupades a través de l’agència dels objectes (circulació d’objectes, productes i de capital econòmic, així com del seu emplaçament en diferents espais), fins a les pràctiques transnacionals més etèries que es desenvolupen a través dels contactes virtuals i l’intercanvi d’informació. Aquest model conceptual i analític ens ha permès examinar de quina manera els moviments d’objectes, d’informació i d’idees, així com també de persones, s’erigeixen com a factors clau en les pràctiques transnacionals actuals i les diferents formes de mobilitat entre Qingtian i l’Estat Español. D’alguna manera, cadascuna d’aquestes pràctiques podrien ser en sí mateixes l’objecte de recerca però en aquest estudi ens hem centrat en la lògica que s’estableix entre diferents pràctiques en l’àmbit de la mobilitat entre Qingtian / Xina I l’Estat Espanyol.
Aquest estudi ha demostrat que les pràctiques socials transnacionals han canviat el seu significant, la seva intensitat, la direcció i les dimensions, i que noves formes de mobilitat entre Xina i l’estat Espanyol estan emergent en els últims anys. L’estudi a permès veure de quina manera la transformació de les pràctiques transnacionals actuals està vinculada amb diversos aspectes como son els canvis estructurals, el contínuum generacional, factors de classe i la diversitat deformes de mobilitat.
Finalment la recerca ha demostrat que els moviments de migració de persones xineses des de l’estat Espanyol en direcció a la Xina no es poden explicar usant el concepte de retorn en el seu sentit tradicional. Aquest fet és aplicable tant quan es fa referència als migrants de primera generació, així com també quan ens referim als seus descendent. Els actuals desplaçament cap a la Xina no només impliquen una mobilitat física sinó que també comporten una mobilitat social donat que tenen com a objectiu “tornar per seguir endavant”.This dissertation aims to explore transnational links and contemporary return migration practices from Spain to China from an intergenerational perspective. The study is framed in an in-depth ethnography based in Qingtian (Zhejiang), the place from where most of the Chinese people in Spain come from. The ethnography conceptualizes and analyses return process inside the diversity of transnational practices and links between China and Spain that shape the life of Qingtianese migrants. Therefore this dissertation does not approach return as a detached and isolated phenomenon but approaches it within the wider scope of transnational practices. The aim of this research is not only to follow itineraries and understand the experience of migrants who return to China. Going beyond this one-sided perspective focused on the perspective of "returnees", this ethnography takes a relational perspective and explores the broader context of the migration process, which includes different social actors, different places and different forms of mobility. To do so, I developed an empirically-grounded analytical scheme, which includes the different bidirectional transnational practices according to their different nature and degrees of embodiment: from the physical movement of people (visits, migration and return) to object-mediated mobilities (circulation of objects, products and economic capital and their emplacement), and the more ethereal, virtual contacts and exchange of information through the new information and communication technologies. The conceptual and analytical model, explained in detail in the introduction of Chapter four, allowed me to underscore how different movements related to things, ideas and people are an integral part of present-day transnational practices between Qingtian and Spain. In a way, each one of those practices could stand as a single study but the aim of this research project is to underscore how are these transnational practices interrelated in the scope of the nowadays mobility between Qingtian / China and Spain. This study has shown that transnational social practices have changed in meaning, intensity, direction and dimension in the last few years and that new modes of mobility are arising within the China – Spain scope. Besides, the research revealed how nowadays transnational connections and mobilities are involved in a complex set of factors related to structural changes, generation continuum, class and different nature of mobility. Weather we are referring to migrants or to their descendants, nowadays movements from Spain to China featured by Chinese people cannot be explained as a return in its traditional sense. These practices not only involve a physical but also a social mobility and are aimed to keep on “moving on by going back”.
14
Brown, Pailyn. "Virtue of Attunement: Contributions of Yuasa Yasuo's Embodied Self-Cultivation Practices to Ted Toadvine's Ecophenomenology of Difference." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1516467964864505.
Повний текст джерела
15
Eason, Fenella. "Doing diabetes (Type 1) : symbiotic ethics and practices of care embodied in human-canine collaborations and olfactory sensitivity." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30280.
Повний текст джерелаАнотація:
The chronically ill participants in this study are vulnerable experts in life’s uncertainties, and have become aware over time of multiple medical and social needs and practices. But, unlike the hypo-aware respondents documented in some studies of diabetes mellitus Type 1, these research participants are also conscious of their inability to recognise when their own fluctuating blood glucose levels are rising or falling to extremes, a loss of hyper- or hypo-awareness that puts their lives constantly at risk. Particular sources of better life management, increased self-esteem and means of social (re-)integration are trained medical alert assistance dogs who share the human home, and through keen olfactory sensitivity, are able to give advance warning when their partners’ blood sugar levels enter ‘danger’ zones. Research studies in anthrozoology and anthropology provide extensive literature on historic and contemporary human bonds with domestic and/or wild nonhuman animals. Equally, the sociology of health and illness continues to extend research into care practices performed to assist people with chronic illness. This study draws from these disciplines in order to add to multispecies ethnographic literature by exploring human-canine engagement, contribution and narrative, detailing the impact each member of the dyad has on the other, and by observing the 'doing' of the partnerships' daily routines to ward off hypo-glycaemia and hospitalisation. In addition, the project investigates the place, role and 'otherness' of a medical alert dog in a chronically ill person's understanding of 'the-body-they-do'. The perspective of symbolic interactionism assists in disentangling individual and shared meanings inherent in the interspecies collaboration by examining the mutualistic practices of care performed. The often-flexible moral boundaries that humans construct to differentiate between acceptable use and unacceptable exploitation of nonhuman animals are questioned within ethics-of-care theory, based on the concept of dogs as animate instruments and biomedical resources.
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Larsen, Esben Enghave. "Familiar Flavors : Sensorial Experiences of Familiarity and Transnational Food Practices Amongst International Students." Thesis, Stockholms universitet, Kulturgeografiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169399.
Повний текст джерелаАнотація:
The thesis takes a reflexive feminist and sensory approach in examining the transnational practices and feelings of cultural familiarity that embody international student migrants, as well as the spatial and social implications of shared kitchen environments. Empirically, the research is based in participatory cook- and eat-along interviews, and a focus group dinner session with six student participants, situating both the researcher and the participants within the sensorial realm of food practices during the fieldwork. The thesis discusses the compromises and negotiations that food practices undergo through material accessibility, geographical knowledges and expectations in crosscultural interactions, causing reconstructions and reinterpretations of daily routines and transnational feelings. Further, the thesis engages reflexively with the embodied situatedness of the researcher and its influence on the results produced throughout the research process. The research highlight the importance of a reflexive approach in sensorial research and emphasize how the sensorial perspective on mundane everyday practices contribute to an in-depth understanding of the lived experiences of migrants. The research findings in relation to the methodological approach, suggest benefits in further fieldwork with an interactive approach of cooking and eating simultaneously to the reflexive interview interaction.
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Fleming, Cassandra. "A genealogy of the embodied theatre practices of Suzanne Bing and Michael Chekhov : the use of play in actor training." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9608.
Повний текст джерелаАнотація:
This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges notions of authenticity and singular 'ownership' of technique by considering the importance of collaborative cross-fertilisation with other practitioners. This research includes a broader exploration of the literature, histories and discourses about the variety of practices that are often problematically classified as Physical Theatre in relation to the identification of the key components of Bing and Chekhov's pedagogy. The first chapter presents this mapping in tandem with the argument that McDermott's term of Embodied Theatre is more appropriate for Bing and Chekhov's practice. The second chapter further refines the frame of analysis to Embodied Play. Chapters three and four consider how Chekhov and Bing respectively used forms of Embodied Play. Chapter five considers how Bing and Chekhov extended their methods of Embodied Play in training which led to radical approaches to working collaboratively with text and writers. It concludes that this movement from the use of play solely for the acquisition of discrete skill or character creation to extended forms of Embodied Play enabled them to train actors to work as empowered creators of small-scale performance in their Schools/Studios, and ultimately to engage in devising processes for professional productions. Consequently, this helps to fill the gap in scholarship on the early experiments in devised Embodied Theatre. In conclusion the focus on Bing addresses the either inadequate, or absent, analyses of her practice in many of the existing historical studies which are dominated by the patrilineal narratives of Jacques Copeau and Michel Saint-Denis. The consideration of Chekhov's practice also challenges the current discourse on play centring on Le Jeu and presents the argument for an expanded term able to consider different artists not just those from the French male lineage. Concurrently, this focus on Chekhov's use of Embodied Play has added to the scholarship on his pedagogic and theatre-making practices.
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Hess, Regina Ursula. "Women's lives in the U.S.-Mexico borderlands and their experiences with the 'capacitar practices' for transforming trauma : an embodied enquiry." Thesis, Bournemouth University, 2012. http://eprints.bournemouth.ac.uk/20690/.
Повний текст джерелаАнотація:
The purpose of this embodied phenomenological inquiry was to explore the impact of the so-called Capacitar Body-Mind-Spirit Practices Training for the transformation of individual and community trauma. A general philosophical framework of transpersonal psychology, particularly drawing on the concept of interrelatedness, has been implemented. This research took place in the U.S.-Mexico borderlands with 14 female co-researchers (Mexican, Mexican-American, Mayan, White American) who live in the twin cities of El Paso (Texas, U.S.) and Ciudad Juárez (Chihuahua, Mexico), who were thus exposed to the constant threat of lethal violence and so-called femicide, to discrimination and the socioeconomic problems that are peculiar to this region. The women’s embodied experiences of change as a result of the Capacitar Training were investigated with semi-structured multiple interviewing multilingually (English / Spanish / Mayan). Data analysis procedures combined imaginative variation and embodied interpretation that resulted in a general meaning structure with its variations. The contribution to knowledge made by the phenomenological results consists of the confirmation of past research on the impact of the Capacitar Training that showed the potential of the body-mind-spirit practices for transforming trauma with culturally and spiritually diverse individuals. The most significant research findings of the present study suggest that: (1) the majority of the co-researchers’ experiences of bodily change through body-mind-spirit practices initiated further integration of past negative (traumatic) and / or positive experiences in an embodied way, including interrelatedness to spirituality, culture and nature; (2) the initial bodily felt shift led to the co-researchers’ desire for more change; (3) the experiences of change were independent of the cultural or spiritual background of the co-researchers; (4) a desire to support others’ change emerged for the co-researchers based on their own experiences of improvement; and (5) ambiguity arose for a minority of co-researchers in the beginning of the training related to cultural and religious barriers, and self esteem issues; and at the end of the Capacitar Training linked with the question of commitment to time and to the engagement with the practices. To enhance an embodied understanding of the phenomenological results, biographical information from the co-researchers’ life experiences related to the borderlands had been compiled during the interviews, which mirrored the body of knowledge on issues in the U.S.-Mexico borderlands and has been presented as a cultural-spiritual narrative composite. Furthermore, evaluative information about the co-researchers’ experiences of the conveyance of the Capacitar Training has been synthesized, adding their critical reflections about the conduction and the further development of the Capacitar approach.
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Coaten, Richard B. "Building bridges of understanding : the use of embodied practices with older people with dementia and their care staff as mediated by dance movement psychotherapy." Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/building-bridges-of-understanding(ad4cba0b-3c99-413f-94cc-a84af28cdfd6).html.
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Culbreth, Mair Wendelin. "Transactional Bodies: Politics, Pedagogies, and Performance Practices of the San Francisco Bay Area." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1514625617942998.
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Rosh, Allison Heather. "Embodied response." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3177.
Повний текст джерелаАнотація:
The work explores the body and its limitations through the lens of printmaking.The surface of the body acts as a barrier between our internal and external selves exposing the vulnerabilities between mind and body. As fragile and receptive beings, the past builds up and manifests itself through our daily actions and repetitive tendencies. There is a strong desire to control our appearance and physical signs of well-being.
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Gray, Andrew Lee. "Embodied reflective practice : the embodied nature of reflection-in-action." Thesis, London Metropolitan University, 2014. http://repository.londonmet.ac.uk/946/.
Повний текст джерелаАнотація:
The purpose of this thesis is to examine the applicability of aspects of Schön’s (1983) theories of reflection-in-action in relation to visual art practice. Schön’s (1983) theories demonstrate that whilst they are written with design disciplines in mind, they do not extend to consider the appropriateness of its use in visual art practice. Scrivener (2000: 10) draws the distinction that whilst Schön’s (1983) use of scientific language in reflection-in-action is considered applicable for problem-solving projects in design, aspects of it are problematic for creative production research projects and recommends focusing reflection on the underlying experience of creative production. This thesis proposes that this and other issues, such as the emphasis on problem solving, and particularly, a reliance on a conversational metaphor, is likewise problematic for visual art practice. This thesis therefore moves to examine what is distinct about the application of reflective methods in visual art practice, in relation to design and research in the arts, through a series of text-based and documentary case studies. Analysis of the case studies suggest that there is an emphasis on embodiment essential to visual art processes, which is experiential in nature rather than problem-solving. A thorough examination of recent theories of embodied mind, which provide empirical evidence from a broad range of knowledge fields for the pervasive role of embodiment in shaping human experience, is presented. The primary research method is a review of two existing sets of theories and a synthesis of aspects of them in an original context, a process offered as an original contribution to knowledge. The context in question is the assessment of the applicability of the resulting synthesis to visual art practice, a domain for which neither theory was written. Knowing-in-action (Schön, 1983) describes the tacit knowing implicit in skillful performance when practice is going well, reflection-inaction (Schön, 1983) takes over, and describes the processes cycled through, only when problems are encountered in practice. Through an analysis of theories of embodied mind, and the documentary cases studies, the conclusion is drawn that in addition to these descriptions there is a rich layer of non-verbal embodied experience shaping action, conceptual meaning and verbal articulations of practice. This thesis therefore suggests modifications to theories of reflective practice in the visual arts, by incorporating theories of embodied mind in the development of additional reflective methods to supplement Schön’s theories (1983). Two methods are proposed as worthy of further study. The first researches Mark Johnson’s (1987) theory of metaphorical projection, which is presented as a means of mapping aspects of visual arts practitioners' verbal articulations of practice, back onto source domains in their embodied experiences of practice. The second explores a recommendation from within theories of embodied mind (Varela, Thompson and Rosch, 1993: 27) that mindfulness training could help develop a mindful, open-ended reflection. Taken together, this thesis proposes that an Embodied Reflective Practice could be developed to the benefit of visual art practitioners.
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Robinson, Dylan. "Musical alterity and embodied practice." Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516999.
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Robinson, Rachel Elizabeth. "Living knowledge : embodied health care research practice /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11187.
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Keane, Jondi, and n/a. "Arakawa and Gins: The Practice of Embodied Cognition." Griffith University. School of Arts, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070122.165000.
Повний текст джерелаАнотація:
This thesis will examine the works of artists-turned-architects, Arakawa and Gins in light of current research in the arts and sciences on affect and self-organisation. The aim of their project is to arrive at a 'daily research' in which a person may: 1. observe and learn about the operations of his or her own perception and action; 2. interact (dismantle and re-assemble) the identity boundaries reinforced by the habitual implementation of concept and category. This thesis takes account of multi-disciplinary and interdisciplinary approaches to embodiment and engages Arakawa and Gins from a practising artist's point of view. Given this practical orientation of the study, the aim is to makes a series of critical reflections on the work of Arakawa and Gins and demonstrate how such an approach brings theory and practice together. Exploration of the central aspects of their processes will prepare a person (researcher or practitioner) to begin a practice that is designed to combine studies of embodiment with the co-evolving relationship of organisms and their surroundings, to form the basis of a practice of embodied cognition. The thesis sets out this investigation into three chapters. In Chapter 1, I propose that the context for Arakawa and Gins' work be understood as the result of multidisciplinary interarticulations and multi-modal approaches to embodied activity. The position they occupy in relation to disciplinary endeavours such as art, architecture, psychology, bio-topology and theoretical physics is a process of constant problematisation, convergence and repositioning. A survey of key writings on Arakawa and Gins demonstrates the complexity of their work and the difficulties authors encounter situating them within a context that adequately addresses the scope of their project. In Chapter 2, I map a series of activities that accrue to form embodied configurations made perceptible by Arakawa and Gins' procedural architecture. These tactics apply to the observational-heuristic stance they take towards the perceptions and actions that constitute a person's identity boundaries as well as the transformational approach they take towards perceptions and actions that construct the material surrounds. I propose that the movements initiated by their architectural procedures become the practice of embodied cognition. That is, the ability to increase awareness and construct the shape of awareness is, at the same time, the ability to observe and learn about the anatomical, physiological basis of cognition. Through Æffective readings and embodied engagements I explore how Arakawa and Gins propose that the distribution of awareness may reconfigure the relationships among the organism-person-surround. The practice that repositions a person in relation to him- or herself, to others, to constructions of knowledge and modes of acquiring knowledge, questions the autonomy of any construct, especially constructs that are historically entrenched such as the organism, art, science or agency in general. In Chapter 3, I argue that by investigating the connection between and across the organism, person and surround, a person must reconsider activities, such as judgment and Reason, as ongoing embodied processes. The implication of such a shift impacts upon everyday practices as well as vocational and professional practices aligned with research and development. Throughout this thesis I argue that tactics of Arakawa and Gins' procedural architecture and the ethics of their reversible destiny project are the most productive way to approach the practical and theoretical inquiry into the contributions that humans can make towards co-constructing the world. The complex and intricate processes that emerge from their work will enhance the quality of life by allowing persons to apply the benefits of research in art and science to everyday actions. By devising procedures for re-entering perception and action, the transition from self-awareness to a practice of embodied cognition acquires a renewed urgency for daily life. Further, I have suggested that Arakawa and Gins' works demonstrates how deliberate recursive action may become a practice of embodied cognition. This occurs in three ways. Firstly, any form of deliberate assessment and coordination of top-down conceptual-analytical processing and bottom-up perceptual processing will open the activities of reasoning, selecting, deciding, and judging to new embodied modes of knowledge acquisition and therefore to unprecedented configurations of value. Secondly, the reconfiguration of what counts as knowledge, from an ontological perspective, impacts upon research processes and the way in which research cultures are situated in relation to communities. Lastly, the practice of embodied cognition sets a new agenda for convergent 'daily research' especially the interaction between art and the 'outside of art' and between third-person science and the science of our own fiction. These practical actions will counteract our commitment to closure on many fronts, both personal and historical, from the education of the senses to the construction of social justice.
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Borland-Sentinella, Deanna. "Embodied futures: Weaving futures thinking, applied theatre and community development in creative and participatory embodied practice." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205943/1/Deanna_Borland-Sentinella_Thesis.pdf.
Повний текст джерелаАнотація:
This practice-led research both bridges, and offers an extension to, the fields of Applied Theatre, Participatory Community Development and Futures Thinking. Through a series of practical workshops, conducted in Australia and Timor-Leste, the study explored what a structurally transformed world might practically be like. Themes discussed in the reflection on practice include: patterns of time and macrohistories; distancing through role and metaphor; and re-contemplating ancestors’ influence on people's worldviews. Outputs from the project include an Illustrated Exercises Book and the Embodied Futures Framework for stepping through stages of change to help groups understand what transforms tomorrow.
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Bell, Alison Forsyth. "Exploring the embodied experience of ageing, through creative practice." Thesis, University of the West of Scotland, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.751386.
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Lester, Shannon Walter. "Gender Euphoria : an embodied practice of painting & drag performance." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45240.
Повний текст джерелаАнотація:
This document is a support paper for my MFA thesis exhibition that highlights certain aspects of my artistic practice as a drag performance artist and painter contextualizing my work within academic theories of socially constructed gender roles. I have been an active participant in drag performance for many years. In this document I discuss how my performance practice has enriched and influenced my creative practice-based research as paintings. Specifically, in relationship to my recent body of work culminating in my final MFA thesis exhibition, Gender Euphoria. The title Gender Euphoria, represents a subversion of cultural codes, and the work itself is the culmination of my two-year residency at UBC Okanagan exploring misogyny, drag, the monstrous feminine and painting.
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O'Hare, Kathleen. "Modern Yoga Practice and Human Rights as Reflexive, Embodied Experience." Thesis, Curtin University, 2017. http://hdl.handle.net/20.500.11937/68410.
Повний текст джерелаАнотація:
This is qualitative research that explores the recent, observable intersection of yoga and activism in Australia and the US. I utilise case studies of yoga practitioners and activists to understand the way in which modern yoga, has intersected with contemporary human rights to become an observable example of engaged yoga. The findings establish that engaged yoga is comprised of a number of components which are categorised into two main areas: self-responsibility and meaningful actions.
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McBride, Lawrence B. "Professional wrestling, embodied morality, and altered states of consciousness." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001094.
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Edwardson, Chelsea Dawn. "The pedagogy of Balinese vocal technique : developing total perception through embodied practice." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52881.
Повний текст джерелаАнотація:
This study examines elements of Balinese vocal pedagogy in order to understand the process of teaching and learning in my lessons with several master singers on the island, focusing on the teachings of Ni Nyoman Candri. Through ethnographic fieldwork, interviews, lessons, and analysis of their content, I will investigate the core concepts that were emphasized throughout my vocal practice.
After reviewing the body of literature that has influenced this work, the study will begin by outlining some basic context for how the knowledge is approached: informal methods of mimicking and repetition as well as kinesthetic embodiment of expression. This will serve as the basis for discussing the initial processes of learning vocal technique: the practice of opening the voice (mengeluarkan suara) through improvised sound and movement, as well as how that technique expands into a layered approach to learning melodies.
The Balinese concept of ngunda bayu (the process of distributing energy through the body) will also add to the discussion, setting a visual representation for the vertical axis in the body that outlines the physiological process of the breath cycle. By simplifying the process into three elements: energy, breath, and gesture, this study will evolve into a discussion of context, showing how the three work in alignment to manifest a single intention: a confluence of embodied vocal expression and total perception.
The work concludes with a discussion of the larger, theoretical context of my previous western classical vocal training, posing some questions about the process and relating it to western scholar Christopher Small’s term musicking. By reviewing and reflecting on the identified elements in Balinese pedagogy, I will give consideration to how this study may be expanded and integrated into other pedagogies and discourses of vocal learning.Arts, Faculty of
Music, School of
Graduate
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Kealy-Morris, Elizabeth. "The artist's book : making as embodied knowledge of practice and the self." Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620375.
Повний текст джерелаАнотація:
The initial research questions for this practice-based doctoral research project was to ask, "Is it possible to develop a more confident, self-conscious creative voice able to articulate one's identity more clearly through the making of handmade artefacts?"; this thesis applies the methodologies of autoethnography and pedagogy to consider an answer. My original contribution to knowledge through this enquiry is the identification of the ways in which the exploration of identity through autoethnographic, creative and pedagogic methods encourages an expanded field of self-knowledge, self-confidence and sense of creative self.
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Lynch, Alvin. ""I Am My Mother's Son" : the embodied presence in Machinima filmaking practice." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695659.
Повний текст джерелаАнотація:
This thesis proposes a framework for the 'embodied presence' that emerges out of the transitional spaces created in the avatar-mediated virtual spaces of Machinima filmmaking practice. At its root, Machinima is a form of cinematic expression that documents life within virtual spaces and draws connections between virtuality and reality. Drawing upon the writings of Gaston Bachelard and Maurice Merleau-Ponty, this thesis examines how the contemporary notion of the virtual and its relationship to the imagination has changed our understanding of embodiment and presence. The analysis of the imaginative effects of my Machinima film, I Am My Mother's Son (which provides the practice-based study for this thesis), demonstrates a mode of artistic exploration of the particular combination of user-generated and avatar-mediated spaces. An analysis of a phenomenology of practice in avatar-mediated virtual spaces utilising a method of interpretive phenomenology analysis reveals that presence is experienced as embodied. Moreover, a materiality to space is identified through an imagination of the senses that responds to the presence of the (imagined) body of the avatar. This thesis argues that the conditions for the embodied presence in Machinima filmmaking practice are best generated in avatar-mediated virtual spaces, where the experience of space is heterogeneous and where the plasticity of mind-body-space relationships is articulated.
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Lawrence, David. "Embodied reasonableness: New rules for the practical accountability of judicial opinions /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487946776021707.
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Weiser, Wolfgang. "Present Poise In Momentum : Embodied learning of applied aesthetics in our sense of balance – a study about sensorial cultural use of balance." Thesis, Linköpings universitet, Pedagogik och didaktik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-123563.
Повний текст джерелаАнотація:
The purpose of this study lies in investigating the embodied learning of applied aesthetics in our sense of balance in the educational space and how it can contribute to change one of a present major public health related problem, the problem of sedentary behaviour in school and society. The investigation is not an effect study, but aims to question our sensorial cultural practice of applied aesthetics, by looking at how we use our ability to balance in the educational space. Introducing and including elements from the field of art, the aesthetics field of knowledge and life science, the question of acknowledging embodied learning is explored mainly in the sensorial cultural praxis of our ability to balance. Embodied praxis is represented by the Alexander Technique and Elsa Gindler’s concept, with relation to modern neuromechanics. An educational view of knowledge that unilaterally enhances and rewards abstraction as well as theoretical thinking, by validating matrices and merit points, creates unbalance. Treating this unbalance solely with physical exercises enhances the conflict of how to use learning time in school and seems not to lead to a solution. By seeing the educational space as a space of embodied practice the investigation is built around participants’ sense of balance in embodied learning during a school day. The established sensorial cultural practice of how we are using our sense of balance in movement responses is observed during a school day and in a complementary inquiry explored and discussed with the children. Also the time of sitting is measured. The qualitative analysis or reading in this research of embodied learning is done by analysing directions or pointing in poise in momentum for finding inclusive or exclusive corresponsive sensorial tendencies in relation to sensorial cultural practice, including individual, social and regulative aspects. The minor quantitative part in this investigation is looking at the time spent sitting during the school day in the given conditions for defining the pupils’ sedimentary behaviour. The found embodied learning was not noticably acknowledged and not commented by the teacher. The learning sessions were varying in space, form and in their content. In spite of the attempt of the teacher to create moveability, the children were sitting 54% or more of the day in school. Inclusive dynamic responsiveness gave ability to balance and promoted embodied learning. Isolated or excluded responsiveness did not noticably engage the sense of balance and did not promote embodied learning. It resulted into pointing or directing downwards and leaning forward, backward or inwards into supportive furniture in accordance with gravitation. The study finds that inclusive responsiveness increases aligned balancing in poise in momentum. In its conclusion the study recognizes the value and effect of physical activity, but argues that moving to be healthy is not effectively changing sedentary behaviour. It argues instead for embodied health sufficient moving on a general sensorial level. To be able to use our sense of balance as function of intelligence, we still need to increase acknowledgment of our evolutionary inherited skill further.Studiens syfte ligger i att undersöka möjligheten, att med embodied learning, lärandet genom estetisk sensorisk kommunikation och förtrogen inlärning, finna möjligheter att påverka ett av de stora folkhälsoproblemen, stillasittande beteende i skolan och i samhället. Arbetet utgör ingen effektstudie, utan syftar till att ifrågasätta vår sensoriska kulturella praxis och estetik, genom att undersöka hur vi använder oss av vårt balanssinne i skolan. En pedagogisk syn på kunskap som ensidigt främjar och belönar abstraktion liksom teoretisk konception, genom meritpoäng och bedömningsmatriser, skapar obalans. Att genom enbart fysisk aktivitet försöka lösa denna obalans, förstärker konflikten om hur tiden i skolan ska fördelas och verkar inte leda till en tillfredsställande lösning av problemet. Studien har en tvärvetenskaplig karaktär, där utbildningsvetenskapliga aspekter, konstnärlig forskning och naturvetenskap först presenteras och sedan inkluderas i frågan om hur embodied learning i relation till vår färdighet att balansera är igenkänd i skolans sensoriska kulturella praxis och estetik. Embodied praxis och dess användning, representerad genom Alexandertekniken och Elsa Gindlers koncept, är sedan närmare diskuterad, samt dess relation till modern neuromekanik. Genom att se skolan som en plats för embodied praxis, estetisk sensorisk praktik och förtrogenhetspraktik, bygger undersökningen på deltagarnas användning av balanssinnet, sett i hållningen i ögonblicket under en skoldag. Etablerad sensorisk kulturell praxis om hur vi använder vår förmåga att vara i balans observeras från ett intersubjektivt perspektiv. Detta kompletteras med samtal och enstaka explorationer, som utgör endast en mindre del i undersökningen. Även tiden för stillasittande mäts. Den framtagna empirin av embodied learning analyseras kvalitativt. Detta sker genom att analysera riktningar i hållningen i ögonblicket, för att hitta inkluderande eller exkluderande motsvarande sensoriska tendenser i relation till individuell, social och reglerande sensorisk kulturell praxis. Den mindre kvantitativa delen i denna undersökning består av att mäta tiden som eleverna sitter under skoldagen, för att kunna analysera elevernas sedimentära beteende. Resultaten visar att embodied learning inte var märkbart igenkänd och inte kommenterad av läraren. Undervisningspassen var varierande i rum, form och innehåll. Trots lärarens ihållande försök att skapa rörlighet, satt barnen minst 54 % av skoldagen. Inkluderande dynamisk sensorisk korrespondens resulterade i en väl fungerande funktionell användning av balanssinnet och främjade embodied learning. Isolerande eller uteslutande respons främjade inte den funktionella användningen av balanssinnet eller embodied learning märkbart. Resultatet visar också att elevernas hållningar största delen av tiden, visade riktningar som pekade nedåt, de lutade sig framåt, bakåt eller inåt och sjönk ner i möblerna i enlighet med tyngdlagen. Visade de en inkluderande korrespondens, ökade balanssinnets fungerande i hållningen i ögonblicket. Studien tillstår i sin slutsats att fysisk aktivitet är nödvändig och har effekt, men argumenterar, att röra sig för att vara frisk är inget effektivt sätt för att förändra stillasittande beteende. Resonemanget i studien leder i stället till att vi behöver röra oss generellt på ett införlivat hälsofrämjande sätt. För att kunna använda oss av vårt balanssinne på ett intelligent sätt, behöver vi fortfarande fördjupa förståelsen av vår evolutionärt nedärvda färdighet ytterligare.
This interdisciplinary study in educational science includes elements from the field of art and aesthetics as well as life science. The investigation is not an effect study. It is about our sensorial cultural use of balance, from the perspective of an embodied practitioner.
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Vettraino, Elinor O'Hara. ""Playing in a house of mirrors" : exploring the six-part-story method as embodied 'reflexion'." Thesis, University of Dundee, 2016. https://discovery.dundee.ac.uk/en/studentTheses/2566cb5c-27d5-432e-a775-155c572cd039.
Повний текст джерелаАнотація:
This qualitative study considers the way in which the 6-Part-Story-Method (6PSM) process, drawn from the field of Dramatherapy, can be used to explore, interpret and enhance the professional practice of those working in the broad context of education. Evolving from social constructivist/constructionist and relativist perspectives, the study explores the concepts of reflection, critical reflection and reflexivity as socially constructed acts. This was a longitudinal study consisting of two stages; Stage 1 involved a number of practical sessions exploring the 6PSM model with Image Theatre techniques over the period of a year. Stage 2 involved an evaluative session a year after the cessation of Stage 1. There were four participants in the study all of whom work within the broad education sector. The place of story creation, telling, listening and sharing is discussed as a core way of individuals and groups making sense of their experiences. In particular, the 6PSM process is used to provide a structural and theoretical base to the methodological process undertaken in the study, and as the key component in the development of embodied reflexive practice. Furthermore, connections are made to the development of embodied, reflexive learning experiences created by techniques adapted from the theory and practice of both Image Theatre and Dramatherapy. Results from the study suggest that the use of the 6PSM as a vehicle for embodied and reflexive learning may be a viable and valuable creative process for educational practitioners to engage with. Further, the results have led to the connection of story, reflexivity and applied theatre to produce a 3-dimensional model of embodied and reflexive practice that has 6PSM at its core. Implications from the research relate to organisational policy changes to incorporate opportunities for the development of 6PSM processes within groups, and changes to initial training for practitioners within the caring professions to incorporate the model of embodied, reflexive practice using 6PSM.
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Nixon, Ellie. "Towards an 'embodied poetics' : an exploration of devising processes based on the work of Jacques Lecoq and Gaston Bachelard." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20777.
Повний текст джерелаАнотація:
Taking as its focus the ‘actor-creator’s’ process in devising practices, this study explores the notion of the ‘poetic body’ developed by French theatre pedagogue Jacques Lecoq (1921 - 1999) and the writings of French philosopher Gaston Bachelard (1884 - 1962) on the ‘poetics of imagination.’ The overarching aim is to originate a new ‘embodied poetics’ whereby the sensate, feeling body actively explores correspondences with the ‘material elements’ of earth, air, fire and water. These are experienced as ‘poeticising substances’ – catalysts and conductors for an embodied imagination. More specifically, this thesis asks the following question: What new understandings can a relational encounter between Lecoq’s pedagogy and Bachelard’s ‘poetic imagining’ reveal about the ’poetic body’ and how might these new understandings originate a devising process? I combine three solo practical projects with accompanying written analysis, to first interrogate the working methods I have inherited as a practitioner and teacher since my time as a student at the Lecoq School, from 1987 to 1989. This is followed by an embodied exploration of Bachelard’s ‘poetic imagining’ process through my own practice. In the final project, I develop an ‘embodied poetics’ for devising, based on the ‘actor-creator’s’ active participation with the world and a recognition that the poeticising ‘I’ is intimately entwined with the material elemental substances that comprise it. In considering the material elements as originating substances for an imagining body, their dialectic qualities offer infinite possibilities for a permanent renewal, expansion and transformation of practice. This study also proposes a new reading of Lecoq’s notion of the ‘poetic body’ from an embodied perspective. Equally, in applying Bachelard’s ‘poetic imagining’ to the devising process, I seek to revivify and reposition his philosophical standpoint from a contemporary perspective within the field of interdisciplinary practices.
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Spackman, Helen. "The exquisite corporealities of Leibniz : performance as embodied practice of thought and documentary praxis." Thesis, London Metropolitan University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591068.
Повний текст джерелаАнотація:
This document offers a theorized contextualization and analysis of the performance research I (Helen Spackman) have undertaken with and through LEIBNIZ, the fluid Live Art collective that I co-founded with Ernst Fischer in 2005. Extending Ernst's and my long-standing engagement with issues of alterity, 'home' and 'belonging', our more widely collaborative activities as LEIBNIZ have developed to specifically address the polemics of grafting personal with communal and political identities and the often problematic relation of such, both to civil and human rights and the wider ecologies of which we are each formed! forming a part. Our particular research interests reside in the ways in which the embodied and transient acts of performance and the im-material traces it generates and/or leaves behind might together serve as an accessible and vibrant means of exploring and articulating marginalized life experiences, concerns and aspirations. While issues concerning the documentation of performance as an inherently ephemeral art form have recently preoccupied critical debate within the intertwined fields of contemporary Live Art and Performance Studies to which our creative and critical practice as LEIBNIZ belongs, this dissertation examines the ways in which performance can itself serve as a vibrant and accessible means of both recording and generating experience with reference to the four LEIBNIZ projects (namely: The Book of Dust, The Ship of Fools, The Book of Blood: Human Writes and Ghost Letters) presented as case studies in this submission of PhD by prior output.
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Chabikwa, Rodney Tawanda Chabikwa. "Gestures from the Deathzone: Creative Practice, Embodied Ontologies, and Cosmocentric Approaches to Africana Identities." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543531419849315.
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Grogan, Jayden. "Embodied sampling as a process of developing an individual moving identity for male dance professionals." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205869/1/Jayden_Grogan_Thesis.pdf.
Повний текст джерелаАнотація:
This research project investigated individual Australian professional male contemporary dancers’ creative practice, to consider how the concept of ‘moving identity’ develops over a professional dance career. The results from the research study demonstrated that each ‘moving identity’ of the three independent Australian professional male dancers interviewed developed in multivariate ways over their careers as dance practitioners. Established inside the researcher’s practice-led research were a publicly archived series of choreographic scores and improvised online videos entitled 'The Museum of Curiosities'. In conjunction, a resourceful toolbox of 'embodied sampling' strategies was developed from the researcher’s creative practice when investigating his moving identity.
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Gale, Cathy. "A practice-based evaluation of ambiguity in graphic design, embodied in the multiplicities of X." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/67e8027c-02ac-4600-97ec-e829b55abb62.
Повний текст джерелаАнотація:
Ambiguity can arise from indecision, unintened confusion or as the international evocation of several meanings in the same image,object,situation or idea. Intentional ambiguity enables multiple interpretations of a message,increasing richness of meaning, while adding pleasure through uncertainty and surprise. In disciplines such as literature and fine art, ambiguity is preceived as not only desirable,but inherent to the value of the work of art or idea and its interpretation in the mind of the viewer. Yet the possibilities of ambiguity remain under explored in graphic design, a discipline predominatly (conventionally) concerned with clear comunication of mesage.
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Mahaffey, Helen. "Exploring systemic positioning in everyday conversations in communities : an embodied reflexive inquiry." Thesis, University of Bedfordshire, 2013. http://hdl.handle.net/10547/608325.
Повний текст джерелаАнотація:
This is a systemic practice doctorate where research is undertaken through a social and relational constructionist lens (McNamee and Hosking, 2012) under a broader umbrella of systemic qualitative research practice. A philosophical orientation to inquiry is taken, offering a way of exploring encounters, and specifically conversations in practice, in an embodied relational and dialogical way from within the experience. This locates me as an active participant alongside other active participants, and self- and relational reflexivity feature centrally within a systemic approach to practice and inquiry. The specific inquiry focus is on embodied, reflexive processes as I engage with others in everyday conversations on issues that matter to different professional and non-professional individuals and community groups; it is a complex ecology. Systemic, embodied, relational concepts are explored through a lens that sees inquiry as philosophically informed. This acknowledges the professional, personal and multiple contexts that inform both the doing and being in each conversation within practice and inquiry. The multi-versa of individuals and groups, professional and non-professional are examined through attention to moments of conversation portrayed through vignettes and dialogical excerpts. I try to capture a sense of the living dynamic of each of the interactions through attention to my multi-vocal inner dialogue and the multiplicity of felt experiences within these conversations where I am moved, stirred, unsettled and fully embodied: I become the case study in the ebbs and flows of this experience. How I inform these processes, and how I am informed by the responses of others, comes under close scrutiny. Attention is given to reciprocal responses, my internal dialogue, as I respond to what has gone before, external moves within these relational unfolding conversational encounters, how the conversation is experienced by those involved, and how we move on together. This inquiry focuses on embodied relational processes within the multiple complex dynamic of these conversations, unpacking our ways of ‘going on’ together (Wittgenstein, 1953). Autoethnography (Finlay, 2002; Ellis, 2004; Etherington, 2004), self- and relational reflexivity (1992), Coordinated Management of Meaning (CMM) (Pearce, 1994), and the process of writing itself are some of the concepts employed to enter this complexity. The unique additional inquiry tool introduced, alongside these, is the personal metaphor of rock climbing. This is chosen because of the fit I consider it has within a conceptual frame of relational embodiment, emphasising the ‘I’, a systemic practitioner and climber, as an embodied being with other embodied beings in conversation. I enter this process of inquiry with openness to enable change and to be changed, and I hope to challenge some established ideas about research. I consider the extent to which the metaphor illuminates embodied, self- and relationally reflexive processes in the context of systemic inquiry. The usefulness and application of this metaphor is tested as an embodied reflexive tool. I explore whether ways of thinking about and understanding embodied relational and dynamic processes can be extended. New features that come to light in the process of this inquiry are explored and the insights that may emerge, along with possible contributions to systemic inquiry and practice, are considered. The wider use of metaphors emerging through the dialogue that people offer to describe experience and to capture a sense of lived moments opens further potential for new learning. The reflexive scope and use of metaphor generally is discussed at the end, along with personal and professional learning from the process of writing and inquiry. I propose a new lens to reflexive inquiry that is suited to systemic practice, embodied reflexive inquiry in which I draw attention to embodied reflexive detailed features within interactions between people. This has wide-ranging applications in systemic and other contexts, including community settings, systemic therapy, training and supervision and across different professional networks, and is explored here. My hope is that this inquiry will to add to the growing field of systemic inquiry texts.
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Wild, Penny. "Interior design identity as practised." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/130739/1/Penny_Wild_Thesis.pdf.
Повний текст джерелаАнотація:
The purpose of this research was to understand the ways that interior designers experience practice through thinking, acting, and being, and as a consequence develop their interior design identities. The findings have supported the development of a new model on interior design identity development through practice. This model will contribute to the discipline by strengthening aspects of interior design identity and practice and will in turn inform education and further research within the discipline.
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Akinci, Ozgul. "The embodied labour of femininity in sex work and performance in contemporary Turkey : theory and practice." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/59428.
Повний текст джерелаАнотація:
This dissertation is a theoretical and practical investigation of the implications of the figure of the prostitute and utilization of feminist theory on sex work in performance practice. Through my interdisciplinary grasp of the notion of the prostitute, I arguethat the figure of the prostitute and its rearticulation through sex work theories can offer a methodological tool to reconsider the notions of femininity and masquerade in their relation to labour. Through the lens of critical theory and practice-based research, I seek to work at the intersection of sex work politics and performance practice. The second chapter looks at the role of the figure of the actress, and that of the prostitute as its counter-figure, in the formation of the new Republican woman in Turkey. The third chapter revisits feminist theory on femininity and masquerade. The fourth chapter examines the notion of labour, the feminist critique of Marxist labour theory, and different approaches to sex work within feminism. The last and fifth chapter documents and discusses the practice-based workshops that I devised and ran in İstanbul between 2013 and 2015.Graduate Studies, College of (Okanagan)
Graduate
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Hubrich, Sara. "The creative embodiment of music : practice-based investigations into staged and embodied interpretations of instrumental music." Thesis, Birmingham City University, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680195.
Повний текст джерелаАнотація:
Within the last century, composers including John Cage, Mauricio Kagel, Georges Aphergis or Michael Nyman, and movements such as the Futurists or later Fluxus have shown an increasing interest in a work’s performance itself and experimented with integrating performative and theatrical elements within their compositions in order to achieve a ‘theatricalisation of music’ (Kesting 1969). This focus on performances was preceded or paralleled within the theatrical arts and in a progression from dance to Dance Theatre, requiring actors and dancers to be increasingly creative and independent. Similarly, in this practice-based research the performer of a piece of instrumental music is regarded as a creative and independent source in addition to the composer. The research inquiry of this thesis is guided by the following three research questions: - How can performers of instrumental music be creative beyond the aural realisation of the score within a performative space? - With the performer’s body and own perspectives on the music as the starting point, what kind of techniques does the performer need for a creative embodied performance and which theatrical elements and techniques are accessible for the performing musician? - What kinds of methods are conducive to a process that leads to a creatively enhanced performance and what kind of interactivity between performer and work do they facilitate? The thesis investigates a practice evidenced by a set of case studies undertaken from 2001 to the present, which are described through their processes of development, their purpose within the research and their performances, documented on the enclosed DVD. The outcomes of this practice-based research and analysis contribute to the practice of performance and interpretation through a set of key protocols for practice as a suggested guide for performers of instrumental music intending to pursue a comparable path of interdisciplinary research on embodied performance its practice.
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King, John Edward. "Rhythmic interaction design for electronic music: multi-touch technologies, affordances, embodied conceptual metaphors and performance practice." Thesis, Ulster University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675468.
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Mafe-Keane, Vanessa. "Settling the score: Pre-scoring spatio-temporal processes for independent dance practice." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/134479/9/Vanessa_Maf%C3%A9-Keane_Thesis.pdf.
Повний текст джерелаАнотація:
This research project develops Pre-scores, a generative choreographic tool that facilitates the communication and translation of movement concepts. Pre-scores are spatio-temporal dance scores depicting choreographic ideas as embodied inscriptions, using drawing, text and symbols, to transmit imaginative visualisations of movement concepts. Translucent layers of tracing paper reflect the way movement is generated and experienced within a body in motion and become a metaphor simulating the dancer's internal score. Pre-scores provide a low-fi collaborative tool, instigating the flow and transparency of choreographic thinking and transforming the imagined into the tangible.
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Nykiel, Annette. "meeting place An exhibition – and – locating the Country: an Australian bricoleuse’s inquiry An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2100.
Повний текст джерелаАнотація:
This practice-led PhD research investigated alternate forms of articulation to relate stories of place-making, as narrative or object, and added threads to the complex meshwork and herstory of the Country. The research was conducted in ‘The Country’, of the north-eastern Goldfields and Yalgorup Lakes in Western Australia. These two non-urban sites provided unique experiences of the bush, local people’s stories and understandings of time. The research investigated the implications of non-urban spaces as studios in relation to the concepts of place, time and narrative.
This research was, in part, experiential and drew on an absorbed embodied awareness of notions of the Country (a place). This was embedded in an ethical onto-epistemology, through the process of piecing together bricolages of seemingly unrelated fragments of methods, conceptual frameworks and materials in simple and complex ways. In making and thinking, gleaned, recycled and repurposed bits and pieces were gathered and utilised during nomadic wayfaring.
The research drew on ideas pertaining to wayfaring and yarning, ‘mapping’ and experiencing the Country through the multi-faceted lenses of the bricoleuse, the geoscientist, the maker and the artsworker. Experiencing the materiality of the Country was a spatial, kinaesthetic and tactile engagement over long periods of time in the midst of the social, physical, material and biotic elements of specific ‘places’. Narratives and artworks emerged from piecing together pre-used fragments into textiles, then curated to form assemblages in built environments, and at the non-urban sites. Collective gatherings of people making, and sharing were facilitated as part of my practice. Yarning about and creatively mapping, these situated experiences in place, aimed to encourage connections and collaborative understanding between the city and the Country.
This research contributes to the value and importance of using non-urban spaces both as sustainable sources of material for artwork and as studios. A bricoleuse’s approach to field-based/practice-led research contributes a relational, conceptual and methodological approach to creative arts, and to collaborative and interdisciplinary research frameworks.
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Schwartz, Melissa Rachel. "Embodied Ethics : Transformation, Care, and Activism Through Artistic Engagement." UNF Digital Commons, 2012. https://digitalcommons.unf.edu/etd/398.
Повний текст джерелаАнотація:
In what follows, I highlight negative environmental perspectives and actions based on traditional patterns of Western dualist thought with the ultimate aim of developing an alternative way of relating to the environment and the ‘other’, in general. In pursuit of such an alternative, I utilize embodied artistic practices in order to present the notion that one can engage more holistically with one’s environment, and the other. Through habitual, lifelong ‚Ways‛ cultivating specific practices generally necessary to creating and to viewing art, I argue, one can refine one’s ethical awareness and action. Following the aims of care ethics’ more context and experience-oriented approach to moral concern and to treatment of the other, as well as the philosophies of Japan, and feminist philosopher, Irigaray, I show how these artistic practices form a new awareness and stance that encompasses components of care. Finally, I briefly highlight how art has been used for positive activism.
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Behan, Mary Kate. "Pilgrimage, Eucharist, and the Embodied Experience: Explorations Toward a Catholic Theology of Pilgrimage." University of Dayton / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1438088184.
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