Dear Yasminers
the deadline is fast approaching for the SEAD white paper abstracts-
the deadline is a bit fuzzy -but we need all abstracts in within the
next few days
we have approved 20 abstracts so far= looks really interesting advocacy
by our community taking shape !
see http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
for the abstracts so far
this one just came in re dance and neuroscience !!
roger malina
Ex-Scribing the Choroegraphic Mind – Dance & Neuroscience in Collaboration
Glenna Batson, PT, ScD, MA
Professor Emeritus (applied)
Winston-Salem State University
www.glennabatson.com
glenna.batson@gmail.com
Today, one of the most compelling conversations in transdisciplinary
discourse is the exchange between dance
and neuroscience. Over the last decade, dancers and neuroscientists
have come together to create live, synthetic
artscience laboratories in which to explore the processes underlying
"choreographic cognition" and the embodied
mind. Whether creating, performing and viewing dance, complex
multi-modal physical and mental processes emerge
that manifest as high levels of creative thinking. Cognitive processes
generated in dance making have potential
benefits that stretch beyond aesthetic aims -- practical, social,
scientific and medical. Many formal dance-science
exchanges and projects occurred, with key choreographers from Europe
and Australia, such as William Forsythe
(Ballett Frankfurt), Wayne McGregor | Random Dance UK, and Shirley
McKechnie and Catherine Stevens,
University of Melbourne. Each has generated projects close to home,
with research extending several centers
for cognitive neuroscience in the US (David Kirsh, University of San
Diego and Scott Grafton, University of
California at Santa Cruz). These projects have been examples of
multi-directional research and creative practice,
engaging a wide range of information technology and digital media,
with nascent, but significant outcomes. Despite
initial momentum, the field remains fragmented. Creative clusters have
not advanced theories or methods to
evolve a focused discourse. While major funding sources have
fertilized the ground beyond the pilot level in Europe,
US funding sources have little grasp of the importance of this topic.
Although dance affords extensive opportunities
for empirical investigation, projects face obstacles, such as
constraints on time, access, training, and limitations
within technologiges and digital media, as well as an underdeveloped
strategic vision, commitment, and cohesion
across disciplines, both within and outside of the academy. Several
directions are needed to address these obstacles.
Alliances need to be forged within educational and cultural
institutions to create environments that support dance artists,
media/technology designers, and scientists in cross-disciplinary
creative research. This includes affording the means
of structuring and managing projects; providing open source
development and access to new tools of technology and
media; providing training to enhance mutual dialogue and project
participation; and philosophically and financially
supporting creative cultures in local and global initiatives that
advance new research methodologies in the
synthesis of the art of dance making and the science of cognition.
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