The greatest weakness I have in planning my inquiry at present is the plannig of the actual questions themselves. I looked to literature to define exactly what I wanted to know from the creative 'process' of the choreographers I will interview. I will combine a few resources to dfine my questions. Included will be citation the neuroaethestics in dance study and the Calvo-Merino finding of the 'mirror' neurons and how long they proposed it took for mirror neurons to take action in watching dance. I will also include questions on working with 'novice' dancers, and professionals and whether the interviewee has a different process for different groups. These questions are inspired from my own experiences choroegraphing, and also upon reading 'thinking in action made visible in contemporary dance' as discussed in a previous blog.
I found this study 'Creative cognition in choroegraphy' by David Kirsh http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.258.5819&rep=rep1&type=pdf also gave me some valuable direction in the questions I will ask.
Kirsh explains different tools the choroegrapher in his study uses to implement creativity and prolong a creative process rather than accepting the first good idea. He speaks of 'non-propositional embodied cognition'. This is like using a metaphor to create an idea; utilising the senses or emotions. For example 'slither like a snake' - engaging imagery, or 'feel the ground like sand under your feet' engaging the sense of touch.
'Because our senses encode different aspects of the world each is informative, and contains bits of information the others do not. Hence each sensory system supports different priming pathways. Events that seem ‘natural’ or obvious in one sensory system may seem unnatural or completely unobvious in another. '
Kirsch describes another process as 'distributed creativity'. This is the idea of dancers interacting to create movement. My interpretation of this is dancers collaborating in ideas. this could come from verbal discussion or in utilising other senses. For example dancers reacting from one anothers touch, or imagery or emotion.
This study has helped me to define my inquiry questions and also helped me understand the intricate processes used to observe movement for quantitive research rather than qualitative. Although I do not have the skills or time to instruct a ehtnograph sudy of movement to inform my observation, it is interesting to understand the process.
I found this study 'Creative cognition in choroegraphy' by David Kirsh http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.258.5819&rep=rep1&type=pdf also gave me some valuable direction in the questions I will ask.
Kirsh explains different tools the choroegrapher in his study uses to implement creativity and prolong a creative process rather than accepting the first good idea. He speaks of 'non-propositional embodied cognition'. This is like using a metaphor to create an idea; utilising the senses or emotions. For example 'slither like a snake' - engaging imagery, or 'feel the ground like sand under your feet' engaging the sense of touch.
'Because our senses encode different aspects of the world each is informative, and contains bits of information the others do not. Hence each sensory system supports different priming pathways. Events that seem ‘natural’ or obvious in one sensory system may seem unnatural or completely unobvious in another. '
Kirsch describes another process as 'distributed creativity'. This is the idea of dancers interacting to create movement. My interpretation of this is dancers collaborating in ideas. this could come from verbal discussion or in utilising other senses. For example dancers reacting from one anothers touch, or imagery or emotion.
This study has helped me to define my inquiry questions and also helped me understand the intricate processes used to observe movement for quantitive research rather than qualitative. Although I do not have the skills or time to instruct a ehtnograph sudy of movement to inform my observation, it is interesting to understand the process.
