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Nombre de programmes trouvés : 744
Conférences

le (15m44s)

“Quantifying JI” Short talk 1.2: Tommi Himberg - Mirroring improvised hand movements in a dyad

We studied coordination and movement kinematics in a mirror game. 32 participants (18 f, 14 m; mean age 25.2 years, range 19–37) performed circle­drawing and freely improvised hand movement mirroring tasks in dyads. The participants were standing face­to­face, right index fingers pointed at each other, fingertips 10–15 cm apart. In turn, one of the participants was appointed the leader, or the dyad was instructed to share leadership. Hand movements were recorded using an optical motion capture system. Joint leadership resulted in smoother performances than the leader–follower condition; the follower participant would often hesitate or ...
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Conférences

le (14m37s)

“Quantifying JI” Short talk 1.3: Ashley Walton - Musical Improvisation: Spatiotemporal patterns of coordination

When jazz musicians perform an improvisational piece of music their behaviors are not fully prescribed in advance. Nonetheless their actions become so tightly coordinated and their decisions so seamlessly intertwined that the musicians behave as a single synergistic unit rather than a collection of individuals. A fundamental aspect of such musical improvisation is the bodily movement coordination that occurs among the performing musicians, with the embodied interaction of musicians both supporting and constraining musical creativity. Here we consider the ability of pairs of piano players to improvise, to spontaneously coordinate their actions with co­performers. ...
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Conférences

le (40m23s)

Joint Improvisation in Music and Dance: Some Preliminary Phenomenological Considerations on Improvisation as an Enactive Process

"I have been a practitioner of soloandjointimprovisationin music and dance for a while. And I have alwayswondered what the main differences were between the two. What I am particularly interested in are the typeof experiences that allow me to cognitively function in a different way, that is, that allow me to explore new(cognitive) territories. In particular, there is always a moment, in an improvisation, be it solo or joint, when Iam in the « zone », that is, in a type of trance where my conscious mind is not in control anymore, or at leastseems not to be in control ...
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Conférences

le (1h6m12s)

Going into the unknown in science and art

Scientists must grope into the undefined place beyond the known. So must improvisation theater actorswalking onto the stage with no idea what will happen next. Improvisation theater developed practices thathelp groups of actors create a new scene on the spot, by focusing on mutual support: saying yes to eachothers ideas and bypassing the inner critic that spoils our spontaneity. I’ll describe how as a scientist by dayand improvisation actor by night, I learned from theater how to do better science. The concepts are universaland can apply to unexpected situations across disciplines.
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Conférences

le (45m6s)

From me and you to we: how our brain integrates our actions and emotions when we interact

It is now well known that areas in the brain that are active when we act or feel become active again when weobserve other people act and express their emotions – as if we would internally relivewhat the other personis doing and feeling. In our daily lives though we hardly behave as passive observers, but rather interact withothers. During my talk I will guide you through a series of experiments that try to investigate how our brainintegrates our perception of others within a more realistic dyadic interaction in which such perception istransformed into a behavioural response to the state of ...
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Conférences

le (48m17s)

Operationalizing Social Neuroscience through HumanHuman and HumanMachine Interactions

How are neural, behavioral and social scales coordinated in real time so as to make possible the emergenceof social cognition? Answering this question requires to study the dynamics of coordination in real humaninteractions. However, even at the simplest dyadic scale, methodological and theoretical challenges remain.Several theories have been proposedto infer the link between neurobiology and social psychology, but the dynamical components of humaninteraction are still poorly explored because of the difficulty to record simultaneously the brain activity fromseveral subjects. This is the goal of hyperscanning methodology. I will first present how the combination ofsituated social paradigms with hyperscanning allowed to ...
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Conférences

le (39m35s)

How much do jazz improvisers share understanding with each other and with their listeners?

To what extent do collaborating improvisers understand what they are doing in the same way as each other?And to what extent do their listeners understand the improvisation in the same way as the performers? Thistalk reviews evidence from two case studies (with Neta Spiro and Amandine Pras) of pianosaxophoneduos, one improvising three versions of a jazz standard (“It Could Happen to You”) and one carrying out anextended free jazz improvisation. In both studies, immediately afterwards the performers were separatelyinterviewed, from memory and prompted by audiorecordings, about their detailed characterizations of theperformances. Outside listeners (expert musicians in the same genres) were ...
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Conférences

le (18m26s)

“Beneficial JI” - Short talk 2.1: Neta Spiro - Joint improvisation in music therapy: characterising interaction in individual sessions with children with autism spectrum disorders

Some types of music therapy, such as Nordoff Robbins, involve improvisation by the client and therapist andthe relationship between the participants’ music making is prioritised. Some children with a diagnosis ofautism who attend these kinds of music therapy sessions often have difficulties speaking and can bereferred for a range of reasons (including difficulties in communication). What does improvisation look like inthis context? Does it differ between sessions and if so how? Can charting what improvisation in the sessionslooks like help assess changes in the client and/or the relationship between the participants? Studies ofmusic therapy sessions often analyse short moments. This ...
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Conférences

le (17m15s)

“Beneficial JI” - Short talk 2.2: Julien Laroche - Being together when time is improvised: interactive coordination in pedagogical improvisations

Improvising music toghether involves coping in realtimewith unprecedented patterns of behavior of another. The goal is to achieve and share a meaningful coperformance,and this is done by interacting.Therefore, processes underlying improvisation cannot be fully grasped by musical analysis only. Behavioralpatterns and collective dynamics that underlie joint improvisation encourage the scientific study of thecoperformanceitself. This is important to understand how improvisers can coordinate their behavior together in a meaningful fashion. However, improvising is first and foremost a practice that requires learning,experience and expertise. Objective measurements aren’t sufficient : integrating the phenomenologicalpoint of view of the improviser is also necessary. For this ...
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Conférences

le (12m59s)

“Beneficial JI” - Short talk 2.3: Rachel-Shlmoit Brezis - Testing the limits – and potential of joint improvisation: Motor skills, social skills and interpersonal synchronization in adults with autism spectrum disorders

Research on joint improvisation has shown that expert improvisers, as well as neurotypical individuals, canjointly create novel complex motion, synchronized to less than 180ms (Noy et al., 2011; Hart et al., 2014;Golland et al., 2015; FeiningerSchaalet al., in review). Presumably, this ability relies on these individuals’motor skills and social skills – yet little is known about the preconditions and correlates of successful jointimprovisation. Here, we employ the Mirror Game paradigm (Noy et al., 2011) with a population of adults withAutism Spectrum Disorder (ASD). ASD is defined by a deficit in social and communication skills and atendency for routinized behaviors yet ...
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