Drawing on a micro-phenomenological paradigm, we discuss Contact Improvisation (CI), where dancers explore potentials of intercorporeal weight sharing, kinesthesia, touch, and momentum. Our aim is to typologically discuss creativity related skills and the rich spectrum of creative resources CI dancers use. This spectrum begins with relatively idea-driven creation and ends with interactivity-centered, fully emergent creation: (1) Ideation internal to the mind, the focus of traditional creativity research, is either restricted to semi-independent dancing or remains schematic and thus open to dynamic specification under the partner’s influence. (2) Most frequently, CI creativity occurs in tightly coupled behavior and is radically emergent. This means that interpersonal synergies emerge without anybody’s prior design or planned coordination. The creative feat is interpersonally “distributed” over cascades of cross-scaffolding. Our micro-genetic data validate notions from dynamic systems theory such as interpersonal self-organization, although we criticize the theory for failing to explain where precisely this leaves skilled intentionality on the individuals’ part. Our answer is that dancers produce a stream of momentary micro-intentions that say “yes, and”, or “no, but” to short-lived micro-affordances, which allows both individuals to skillfully continue, elaborate, tweak, or redirect the collective movement dynamics. Both dancers can invite emergence as part of their playful exploration, while simultaneously bringing to bear global constraints, such as dance scores, and guide the collective dynamics with a set of specialized skills we shall term emergence management.
Our title can be read as trivially true, namely, that perceived affordances shape real-time interaction dynamics. A less trivial reading suggests that affordances themselves interact in a shared dyadic field, such that the number and quality of As and Bs affordances are dynamically coupled with bidirectional causality. In dance, martial arts, or team sports agents strategically comodulate each other's affordances while pursuing their aims. In Aikido, where agents try to break their opponents' balance, this trade-off globally approximates a zero-sum game-the better A's affordances are, the lousier B's affordances get. The agents are subject to ceaseless cross-causation in this shared field. They seek to obstruct their opponents' options while strategically enabling, augmenting, and sculpting their own by employing subtle perceptual manipulation skills, redirecting force, brinkmanship, and switching techniques opportunistically. To overcome static views, we conceptualize affordances as cascading and having fluid onsets; we also identify nested affordances in goal hierarchies and describe a spectrum of affordance functions. Ultimately, we suggest rethinking the ontology of affordances as being sensitive to dynamic engagements, hence defined relative to interpersonal emergence.
The hallmark of a genuinely socio-cultural perspective on image schemas must be its ability to account for their variation both across cultures and in situated cognition. To counterbalance the prevalent research strategies which have highlighted highly generic cognitive resources that cross-cut a broad range of different contexts, I propose two complementary analytical strategies that make nuances in image schema usage more visible: The first lies in focusing more on how image schemas interact at the level of whole scenes, at which they form compound gestalts-a step allowing the analyst to get a handle on complex tropes. The second lies in evading the practice of endowing image schemas with a maximally decontextualized ontology-a step opening an avenue to augmented descriptions of image schemas and their context-bound usage. This analytical strategy produces "situated image schemas", descriptions capturing how "primitive" image schemas are actualized with regard to the kind of embodiment they involve, as well as their intentional, emotional and motivational nature within specific settings, or their embedding within wider action scenarios and even a cultural ethos.
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