<p> The central research questions of this study are: What is it to play a fully authentic round of golf? And how can a depth psychology that includes an imaginal perspective perceive the game of golf in such a way that allows for a fully embodied experience? Flowing out of these questions is a multi-layered approach that aims to unfold golf's soul by exploring its primordial place, the Old Course at St Andrews, Scotland, which is officially called The Links. From a phenomenological hermeneutic exploration of The Links, its features, place names, and layout, a map of Jung's individuation process emerged. Here, place and person are given the opportunity to individuate. How does a place individuate? The challenge for this dissertation is to show that the individuation process of person, psyche, and place are seamlessly woven into the enfleshed fabric of Being.</p><p> Phenomenology describes the surfaces of golf and its play-scape, depth psychology guides us below and underneath those surfaces, and hermeneutics invites a mythic interpretation of how enfleshed embodiment experiences this place. This study takes rich metaphors from depth psychology and integrates them with phenomenology's lived body and then implaces their confluence into an actual place. The Links is a living place that both invites and exudes imaginal embodiment.</p><p> This dissertation links golf's physical surface with its soul, players with targets, motion with stillness, and mind with body. Indeed, golf on The Links is a play of duality and wholeness. Hence, this study will observe, describe, and inquire into the dyadic relationships that form the whole of golf, and then release these relationships from their fixity in the literal, in order to allow golf's authentic layout to reveal itself. This is done by interpreting the mythic stories that are embedded in and throughout this ancient play-ground. These stories guide each individuating golfer who ventures on The Links to discover his or her authentic Swing. The authentic lived experience is that while playing on The Links, this golfer is, at the same time, being played by The Links.</p>

<p> This dissertation sets forth a typology of contemporary collectors of objects of material culture. This study characterizes four types of collectors, identified by separate and unique abilities of inner and outward perception, which resonates in their collections as praxis. </p><p> This typology also analyses the degree of both conscious and unconscious meaning in the collection, which, over time and place, becomes a self-referential composition. The meaning of objects as perceived and handled relates to the collector's level of consciousness of this epistemological function. The form or kind of the object, although significant, is not the basis for this ontological study as much as the method of each type of collector in the handling of their collections. </p><p> The latent or manifest drive towards degrees of coherence or completion lies in the collection, a visual, relational structure created by the collector. This structure may result in conscious enquiry, realization, and individuation, or may build a material bastion of self-protection, due to unconscious compensation or denial. </p><p> The handling of objects is the handling of a personal relationship, as collectors do not simply perceive objects, they perceive with objects, over time, in praxis. This dissertation allows for the great significance of home, within which a collector curates objects. </p><p> This dissertation employs a multi-disciplinary and hermeneutical approach as befits each type of collector's idiosyncratic and heterogeneous relationship to lucid materiality. Four types of collectors, the <b>acquirer,</b> the <b>connoisseur,</b> the <b>fetishizer</b> and the <b>hoarder </b> exhibit a neoteric aesthetic of material culture, analyzed individually as types through selected methodologies: the depth psychological perspective, process theory, the mythological approach, and through semiotic structuralism. </p><p> This typographical analysis results in the discovery of four unique ways in which collectors create meaning from our material world with approaches to the nature and concept of a "thing." </p><p> How a thing becomes visual image, which becomes the structure of a psychic reality fortuitously grasped by a mind and the hand, is a reflection of the importance of objects and of a collector's personal epistemology. </p><p> A Production Component, a book called <i>Generosity of Eye: A Seasoned Appraiser Answers Clients' Questions,</i> discusses the evaluation of objects from the perspective of a professional appraiser.</p>

Research on aesthetic perception of dance has been recently generating considerable interest within the field of Psychology of Aesthetics. There are, however, a number of methodological and conceptual gaps in our knowledge such as the application of the method of production, as well as understanding the role of motion smoothness, synchronous movement, and cultural factors in aesthetic perception. The present basic research addresses those gaps through five psychological experiments. In study 1, participants generated static sequences of images according their preference. Smooth continuation of meaningful objects was preferred when considering implied motion. In study 2, participants sorted images into moving sequences that they would like to see. Participants liked movements with smooth motion. In study 3, participants rated different schematic video animations depicting two dancers. Participants preferred smooth movements preformed in synchrony. In study 4, participants rated video animations depicting different types of motion performed by human body or abstract shapes. Participants preferred smooth synchrony. In study 5, British and Japanese participants watched synchronous and asynchronous actual dance video clips, rated the videos according their aesthetic judgement and answered questionnaires about motivations and individualism/collectivism. British participants preferred asynchronous dance while Japanese participants preferred synchronous dance. Studies 1 and 2 applied the method of production for the first time to study aesthetic preference for human movement, studies 1 to 4 support the neurocognitive model of aesthetic appreciation in the performing arts. Study 5 supports our cultural hypothesis: British participants preferred asynchrony (in line with analytical perceptual style, Western focus on individual movements), whereas Japanese participants preferred synchrony (holistic style, Eastern focus on group movement). Convergence between the neurocognitive model and the cultural hypothesis is discussed. The present research opens new lines of research in perception of human movement and performing arts: the method of production, motion smoothness, synchrony, and cross-cultural aesthetics.

This reflexive account is of a phenomenological study that took place over two years. It explores how a group of primary-aged children perceive, express and reflect on their embodiment through movement. Children aged between four and eleven took part in sessions of yoga, somatic movement and developmental play during the school day. The data include field notes, observations, a reflexive journal, photographs of and by the children, their drawings, mark-makings, writing and posters. Children were also interviewed at the end of the study, when they had an opportunity to reflect on all their work and experiences. All the children were capable of expressing and reflecting on their experiences, and the oldest children in particular appeared to enjoy and seemed to benefit from the reflective process. By linking together a sense of self-awareness and reflection, the children appeared able to gain insight into their embodied experience and reflect on emotions, feelings and events. Embodiment is a process as much of a state of being, and as such has implications for perceptions of mind and body, learning, and reflective practice. This approach to embodied reflective practice thus has potential for educators, and teacher trainers as well as direct work with children.

Esta pesquisa tem por objeto de estudo o fazer musical aplicado no contexto da educação empresarial. Foi investigado em que medida este processo constitui um caminho de conhecimento de si e conhecimento do outro, bem como procurou-se compreender seu potencial, paradoxos e peculiaridades, tanto para a educação empresarial quanto para a psicologia social. Nesta pesquisa, foi trilhado um caminho essencialmente fenomenológico, no qual optou-se, primeiramente, por apresentar e descrever o contexto de trabalho e, em seguida, descrever a experiência vivida em uma série de oficinas musicais, realizadas com trabalhadores de três empresas. Os dados da pesquisa foram colhidos sob forma de entrevistas, diários de campo dos participantes e gravações em vídeo das oficinas. Uma vez compilados, os registros relevantes foram organizados em categorias, a fim de permitir uma análise dos significados emergentes no processo. Os resultados encontrados foram, então, discutidos sob o aporte teórico e reflexões acerca: da musicalidade, da arte como caminho de conhecimento, do trabalho educativo no meio empresarial, e das questões da percepção da música, de si mesmo e do outro. Por fim, indaga-se sobre o potencial papel do fazer musical tanto no âmbito do desenvolvimento do indivíduo quanto na dinâmica das interações sociais e de trabalho no mundo empresarial contemporâneo / Music-making applied in a business educational context is the object of this research. We investigated to what extent this process constitutes a path to the knowledge of oneself and to the knowledge of the other. We tried as well to understand its potentials, paradoxes and peculiarities for a business education process. This study was based on a essentially phenomenological approach. First it is presented and described the work context followed by the description of the lived experience made in a series of musical workshops, with workers of three companies. The survey data was collected through interviews, field diaries of the participants and video recordings of the workshops. Once compiled, the relevant records have been organized into categories to allow an analysis of the emergent meanings in the process. The results are then discussed under theoretical support and ideas about musicality, art as a way of knowledge, educational work in the business environment and questions of music perception and perception of oneself and of the other. Finally we ask questions about the potential role of music-making both in the individual development as well as in the social dynamics and work interactions in a contemporary business world

Esta pesquisa tem por objeto de estudo o fazer musical aplicado no contexto da educação empresarial. Foi investigado em que medida este processo constitui um caminho de conhecimento de si e conhecimento do outro, bem como procurou-se compreender seu potencial, paradoxos e peculiaridades, tanto para a educação empresarial quanto para a psicologia social. Nesta pesquisa, foi trilhado um caminho essencialmente fenomenológico, no qual optou-se, primeiramente, por apresentar e descrever o contexto de trabalho e, em seguida, descrever a experiência vivida em uma série de oficinas musicais, realizadas com trabalhadores de três empresas. Os dados da pesquisa foram colhidos sob forma de entrevistas, diários de campo dos participantes e gravações em vídeo das oficinas. Uma vez compilados, os registros relevantes foram organizados em categorias, a fim de permitir uma análise dos significados emergentes no processo. Os resultados encontrados foram, então, discutidos sob o aporte teórico e reflexões acerca: da musicalidade, da arte como caminho de conhecimento, do trabalho educativo no meio empresarial, e das questões da percepção da música, de si mesmo e do outro. Por fim, indaga-se sobre o potencial papel do fazer musical tanto no âmbito do desenvolvimento do indivíduo quanto na dinâmica das interações sociais e de trabalho no mundo empresarial contemporâneo / Music-making applied in a business educational context is the object of this research. We investigated to what extent this process constitutes a path to the knowledge of oneself and to the knowledge of the other. We tried as well to understand its potentials, paradoxes and peculiarities for a business education process. This study was based on a essentially phenomenological approach. First it is presented and described the work context followed by the description of the lived experience made in a series of musical workshops, with workers of three companies. The survey data was collected through interviews, field diaries of the participants and video recordings of the workshops. Once compiled, the relevant records have been organized into categories to allow an analysis of the emergent meanings in the process. The results are then discussed under theoretical support and ideas about musicality, art as a way of knowledge, educational work in the business environment and questions of music perception and perception of oneself and of the other. Finally we ask questions about the potential role of music-making both in the individual development as well as in the social dynamics and work interactions in a contemporary business world