Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that (...) the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

In this paper we explore the notion of rehearsal as a way to develop an embodied and enactive account of imagining. After reviewing the neuroscience of motor imagery, we argue, in the context of performance studies, that rehearsal includes forms of imagining that involve motor processes. We draw on Sartre’s phenomenology of imagining which also suggests that imagining involves motor processes. This research in neuroscience and phenomenology, supports the idea of an embodied and enactive account of imagination.

In this article, we argue for the need to further incorporate the study of metaphor with the newest tendencies within cognitive science. We do so by presenting an ecological view of cognition as a skull-and-body-transcending activity that is deeply entangled with the environment. Grounded in empirical examples we present and examine four claims fleshing out this ecological perspective on cognition and metaphor: (a) metaphor is a product of an organism-environment-system, rather than merely a product of an inner mental process, (b) (...) metaphoric meaning is relational. It emerges from projections of structure between a living organism and its perceived or imagined environment, (c) underlying metaphor is the notion of metaphoricity, which is a scalar value involving a doubleness in experience, and (d) metaphoricity relies on experiential affordances that can be directly perceived or felt in the environment. Overall, we propose that metaphor should be understood and thought about in terms of affordances rather than mental ability. Studying metaphor as affordances is to focus on metaphor as part of our active doings that equally involve cognitive, social, and linguistic dimensions. Within an ecological framework, there is no contradiction between studying the details of linguistic, multimodal, and embodied behavior in situational contexts while considering the cognitive dimensions of this behavior too since cognition is re-conceptualized as constituted by actions in an environment. (shrink)

Research into group creativity with its dynamic, interpersonal, and multi-perspective character poses many challenges, among others, how to collect data and capture its shared nature. In this paper, we discuss the creative process of an ensemble in dance improvisation as an example of vivid and collaborative creative practice. To identify aspects of improvisational dance cognition, we designed and applied a video-stimulated recall approach to capturing the multiple perspectives of the shared creative process. We tested the method during an improvisational session (...) with dancers, showing how the recordings of dancers’ thought narratives and internal states might be used for studying group creativity. Finally, we presented an audiovisual installation Between Minds and Bodies that aimed to recreate the dancers’ experience and offered immersion into the creative process by accessing individual dancer’s thought processes in the improvised performance while watching the dance improvisation. (shrink)