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The Role of the Visual Arts in Enhancing the Learning Process

Dance is part of many systems of belief about the universe that deal with the nature and mystery of human existence and involve feelings, thoughts, and actions. From a comparative worldwide perspective, dance may be seen as human behavior composed from the dancer's point of view of purposeful, intentionally rhythmical, and culturally patterned sequences of nonverbal body movements in time, in space, and with effort. Different from ordinary motor activities, these movements have inherent and "aesthetic" values; that is, they have both appropriateness and competency. According to historical and anthropological research, people dance to express an awareness that is often difficult to express in words, and to fulfill a range of intentions and functions that change over time. Perceptions of orthodoxy and authenticity vary. People dance to explain religion, to create and recreate social roles, to worship or honor, to conduct supernatural beneficence, to effect change, to embody or merge with the supernatural through inner or external transformations, to reveal divinity through dance creation, to help themselves, and to entertain. Specific knowledge of dance practices associated with the supernatural is acquired through initiation, divination, oracle, observation, and copying.

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Kinesthetic Empathy in Creative and Cultural Practices

C hange Fundamentals for Service Designers Dr. Tina Weisser, Prof. Pictures Unless otherwise stated, the copyrights of all images used for illustration lie with the author s of the respective article. Service Design and Change Management Service design has an interesting conundrum in its methodological heart. If you pick up any textbook about our practice, or scour places such as Pinterest, Slack workspaces or Medium, you will find countless examples of deliverables and techniques from the earliest stages of a typical service design project.

In this article I propose that motion capture mocap and virtual reality VR technology can be used to record and visualize movement histories as a supplement to oral histories or for when a memory is based in a embodied experience. One specific example would be the presentation of illness narratives. To illustrate this situation, I examine the concept of illness narratives, particularly those created by dance artists, and use my movement history, Lithium Hindsight , as a case study. This analysis comes from the perspective of a hybrid movement artist, VR creator, archivist and digital humanist, with first-hand experience of the challenges encountered when creating a movement history. The challenges are presented within the context of mocap recording, data curation, digital preservation and sustainability issues. I end this article by providing some basic practical strategies and recommendations for researchers who are new to documenting movement histories. Current Issue

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Popular Media Cultures pp Cite as. To fans of his many texts — from television series Buffy the Vampire Slayer — to web series Dr. Like real life, these character losses can be profoundly affective for viewers and take months or years for them to recover from. Unlike real life, the death of a character does not usually mean the death of an actor. To examine this occasion of cross-textual catharsis, I first provide a context for the relationship between Angel characters Winifred Burkle, played by Amy Acker, and Wesley Wyndam-Pryce, played by Alexis Denisof.

Drawing on R. Both Dance and Architecture require an imaginary design of each other in the process of creating, as they involve the designing of tangible, as well as intangible spaces through body movement. Three autonomous research cycles have been conducted so far, each one of them reflecting on the previous work and at the same time pursuing development within a different context:.

By Intellect Books Ltd. A key interdisciplinary concept in our understanding of social interaction across creative and cultural practices, kinesthetic empathy describes the ability to experience empathy merely by observing the movements of another human being. We embarked on the process of devising and editing this book having spent the previous three years engaged with the question of kinesthetic empathy.

Architecture + Dance (2011 -2019)

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Works Cited

This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. Architecture is emotive space that moves us.

Waterman The most sensible inside Us assembles a panel of distinct students whose paintings has been principal to knowing beneficial properties of mental functioning.

Instant Composition: choreographic training of the dance artist and his corporeality. For that purpose, a field study of artistic practice was conducted both in the studio and over the workshops. Some of the categories emerging from the analysis of the data collected - quality of movement, reflective arenas and presence - are presented and discussed. This study further suggests ways of working up the body and the choreographic training that lead to an autonomous body, where exercises become performances, out of normative patterns.

Танкадо прислал нам письмо. ГЛАВА 122 - Шесть минут! - крикнул техник. Сьюзан отдала приказ: - Перепечатайте сверху .

Затем, в отчаянии, он поднял над собой левую руку, чуть не задев по лицу пожилого человека. Камера выхватила исковерканные пальцы Танкадо, на одном из которых, освещенное ярким испанским солнцем, блеснуло золотое кольцо. Танкадо снова протянул руку.

Сердце ее готово было выскочить из груди. Было видно, что Хейл ей не поверил. - Может быть, хочешь воды. Она не нашлась что ответить. И проклинала .

Сьюзан снова завладели прежние сомнения: правильно ли они поступают, решив сохранить ключ и взломать Цифровую крепость. Ей было не по себе, хотя пока, можно сказать, им сопутствовала удача. Чудесным образом Северная Дакота обнаружился прямо под носом и теперь попал в западню. Правда, оставалась еще одна проблема - Дэвид до сих пор не нашел второй экземпляр ключа.


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    Return to Article Details Dee Reynolds and Matthew Reason (eds): Kinaesthetic Empathy in Creative and Cultural Practices Download Download PDF.

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