Avant-propos

Relationships between empathy and creativity in collective games: a comparison between handball and sitting ball

“…These decisions taken in situ are not the result of chance. They are based on subtle empathetic processes, i.e., on the player’s ability to guess the behaviors, thoughts and feelings of the other, of others ( Berthoz and Jorland, 2004 ; Stanger et al, 2016 ). We formulated the hypothesis that to better understand the empathic mechanisms involved, it was necessary to consider the internal logic.…”

“…Teammates must be creative and unpredictable in order to individually and collectively thwart opposing projects ( Oboeuf et al, 2009 ; Furley and Memmert, 2018 ; Rasmussen et al, 2019 ). This motor creativity is based on empathy, understood as the ability to put oneself in the place of others, i.e., to anticipate their feelings and/or their thoughts and/or their behaviors ( Courchet and Maucorps, 1966 ; Berthoz and Jorland, 2004 ; Stanger et al, 2016 ). In the environment with high social uncertainty of games and sports ( Márquéz Jiménez and Martínez de Santos, 2014 ), this empathetic mechanism would enable the player to pre-act, to anticipate behaviors in order to improve his creativity, in particular by increasing his ability to surprise opponents ( Rasmussen et al, 2019 ; Oboeuf et al, 2020 ).…”

Vygotsky and beyond: horizons for the future of psychology /Vygotski y más allá: horizontes para el futuro de la psicología

“…We are currently better positioned to see the continuity between what we might call the pre-dramatic minds of animals and the human dramatic mind, without the need to oppose the human and the animal, but understanding its continuity. The current proposals on the episodic mind (Donald, 1991) and mirror neurons (Ferrari & Rizzolatti, 2015), or the functions of interaction and coaction, empathy, altruism and mutuality (Berthoz & Jorland, 2004; Tomasello, 2008) provide new materials on which to find firm ground and that could support the development of the dramatic route. When he defines consciousness from the dynamic unity of lived experience ( perezhivanie ); when he addresses mediated functional analysis of perception, attention, voluntary action and emotions; when he stresses functional personality and its formation as a dynamic, singular and adaptive functional system along a distinctive and unique developmental trajectory (Vygotski, 1932/1984/1996); when he proposes the formation of the future plane and a new vision of the world ; and, above all, with his thesis on the dramatic nature of consciousness, Vygotsky outlines an intriguing scenario on the meaning of life and human nature that provides direction, dynamism and systemic coherence — in the new mediated plane of representational functions — to the human psyche.…”

“…Hoy estamos en condiciones de ver mejor la continuidad entre lo que podríamos llamar la mente pre-dramática de los animales y la mente dramática humana, sin necesidad de oponer lo humano con lo animal sino comprendiendo su continuidad. Las propuestas actuales sobre la mente episódica (Donald, 1991) y las neuronas espejo (Ferrari & Rizzolatti, 2015), o las funciones de interacción y coactuación, la empatía, el altruismo y la mutualidad (Berthoz & Jorland, 2004; Tomasello, 2008) aportan hoy nuevos materiales en los que se podría hacer pie y apoyar su desarrollo la vía dramática. Al definir la conciencia desde la unidad dinámica de las vivencias ( perezhivanie ); al abordar el análisis funcional mediado de la percepción, la atención, la acción voluntaria y las emociones; al incidir en la personalidad funcional y en su formación como un sistema funcional dinámico, singular y adaptativo a lo largo de una trayectoria de desarrollo distintiva e irrepetible (Vygotski, 1932/1984/1996); al proponer la formación del plano del futuro y de una nueva visión del mundo ; y, sobre todo, con la tesis sobre el carácter dramático de la conciencia, Vygotski esboza un escenario sugerente sobre el sentido de la vida y la naturaleza humana que aporta dirección, dinamismo y coherencia sistémica, en el nuevo plano mediado de las funciones representacionales, a la psique humana.…”

La posture empathique comme fondement méthodologique pour l'étude de la communication émotionnelle dans le domaine de la danse contemporaine

“…Ni fusion, ni identification, ni même contagion, comment se définit alors l'empathie ? 22 » Traiter de l'empathie est donc une lourde tâche. Ainsi que nous l'explique Jorland, « l'empathie est en effet le concept "nomade" par excellence, il migre sans cesse d'une discipline à l'autre, de l'éthique à l'esthétique à la psychologie à la philosophie voire même à la théologie » 23 .…”