Dance, an activity endowed with intentional expressivity and intrinsic affectivity, has been the target of neuroscientific research since the last decade of the 20th century. We can make several inferences about the cognitive and motor aspects in dance based on this research. The main goal of the present study is to raise questions about how communication takes place among dancers during dance improvisation. This work is based on a systematic review of the literature. In this paper we approach the cognition and motivity in dance improvisation from the embodied cognition theory. This theory involves several concepts, including motor cognition, situated cognition and social cognition. It can also be inferred that mirror neurons constitute the neurobiological basis of perception and action processes present in these cognitive modes. It is suggested that this type of neural mechanism is also related to empathy, a procedure which enables a person to understand the intentions and emotions of another person without verbal language. We suggest the idea of empathic choreography for temporary structuring of movements which take place in contemporary dance improvisation. When dancers improvise, they understand each other's motor intentions and emotions. Thus, the dancers share decision making and build an ephemeral movement structure that characterises dance improvisation.
This study assessed the effect of the Body Rhythmics (BRIM) on actors' attentional processes. BRIM is a combination of exercises using numbers and rules that enact musical parameters in the moving body through displacements. Male actors (N = 22) participated in the study: 7 in the BRIM (Study) group and 15 in the Control group (groups were equivalent on mean Raven's IQ). The Continuous Performance Test (CPT-II) was administered before and after an intensive period of BRIM training. There was no significant difference on the CPT-II before training. Group results for before vs after training showed a significant difference for reaction time for the Study group. There was also a trend to increased errors of commission in the Study group after BRIM training.
Os autores apresentam neste texto uma reflexão sobre forças poéticas e políticas envolvidas na cena teatral imersa no contingente evidenciado pela pandemia da COVID-19. Das ruas e dos teatros possíveis nesse contexto, objetivam pensar acerca das cidades que por hora emergem nos imaginários vivenciados na fronteira on e offline, seja pelos processos de composição em arte que se viram forçados a migrar para a internet, seja pelo lastro deixado pelos meios de comunicação num mundo hiperconectado. Por meio do diálogo com Néstor Garcia Canclini e outros pensadores da cena contemporânea, os autores constatam o entrelaçamento entre o que aqui chamam de cidades online e cidades offline e apontam desafios poéticos que se erguem nos debates sobre o tempo-espaço dentro e fora da internet. O que restará de nossos teatros em meio a uma pandemia da informação? Defendendo uma expansão do sensível, partem da cena contemporânea para pensar que outros corpos e espacialidades estão sendo exigidos ou impostos no torvelinho da guerra biopolítica que nos circunda.
RESUMOA ruptura epistemológica que fez a ciência moderna existir deslegitimou os demais saberes. Esse ato epistemológico secular ainda desqualificou as artes que, por sua vez, na contemporaneidade, estão fortemente presentes em determinados territórios da ciência. O denominado pensamento racional, portanto, é também feito do exercício de sentir e de experimentar o mundo. Todo saber é sentido, na medida em que se sente-pensa para se fazer. Palavras-chave: Conhecimento. Arte. Ciência.
ABSTRACT
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