To investigate the role of action representations in the identification of upright and rotated objects, we examined the time course of their evocation. Across five experiments, subjects made vertically or horizontally oriented reach and grasp actions primed by images of handled objects that were depicted in upright or rotated orientations, at various Stimulus Onset Asynchronies: -250 ms (action cue preceded the prime), 0 ms, and +250 ms. Congruency effects between action and object orientation were driven by the object's canonical (upright) orientation at the 0 ms SOA, but by its depicted orientation at the +250 ms SOA. Alignment effects between response hand and the object's handle appeared only at the +250 ms SOA, and were driven by the depicted orientation. Surprisingly, an attempt to replicate this finding with improved stimuli (Experiment 3) did not show significant congruency effects at the 0 ms SOA; a further examination of the 0 ms SOA in Experiments 4 and 5 also failed to reach significance. However, a meta-analysis of the latter three experiments showed evidence for the congruency effect, suggesting that the experiments might just have been underpowered. We conclude that subjects initially evoke a conceptually-driven motor representation of the object, and that only after some time can the depicted form become prominent enough to influence the elicited action representation. / Graduate / 0633 / ragavk@uvic.ca

Humankind is facing global ecological problems and resulting from these social issues, while continually destroying the ecosystems which are the life-support mechanisms of the planet and human civilization. The socio-economic system is largely influenced by top-down decision making. Political decisions are a high leverage in sustainability issues, but contemporarily they are conducted in the reductionist way, focusing on short-term profit and jeopardizing the planet and people in the long run. The thesis explores the ways of integrating more holistic approach into political decision making. The study describes the connection between cognitive processes (e.g. learning or decision making) and somatic experiences: human decisions are considered a dynamic product of interaction between the cognition, body and environment. The theory of deep learning helps to understand how decision making can be transformed, and embodied cognitive science explains what facilitates the process of deep learning. The study develops the concept of “body-environment dialogue” — the somatic and cognitive integration of an agent and the context through which the agent receives non-verbal information processed then into the agent’s inner knowledge. The way of processing the information, unlike analytical thinking, is grounded into mindfulness and reflection. It results in the holistic insight about the global socio-ecological system and its interconnections, awakes intrinsic values and causes the change in one’s decisions and actions. Embodied experiences and connection with natural environment are considered the ways to facilitate deep learning which, in turn, affects decision making. The empirical part of the research tests the possibility to affect decision making through embodied contact with nature and the local context. The experimental study project based on 3-day outdoor experiential course demonstrates a certain change in the participants’ decision making as well as illustrates the challenges and drawbacks of such approach.

The consulting firm Atkins has developed a tool to help constructers plan urban areas but the tool is lacking data about embodied carbon in Sweden. The embodied carbon is the total carbon dioxide equivalents that are emitted from the material used in constructing a residential building as well as the energy used at the construction site and during demolition. In this thesis, the embodied carbon for a concrete framed building and a wooden framed building is calculated and presented. The mapping of embodied carbon for the two different framed buildings is done with a life cycle assessment perspective. In order to structure the studied system, the life cycle of the buildings is divided into three stages. The first stage includes data and calculations about the extraction and manufacturing of the most common building materials as well as the transportation to construction site. Stage 2 presents information about theon-site construction which includes, among other things, use of machines for constructing a residential building. In the third stage, data regarding demolition and end of life management are presented and calculated. All these three stages are added and a value for total embodied carbon for concrete framed residential buildings and wooden framed ones is presented in the result. The final result shows that the studied concrete framed residential building contains more embodied carbon than the wooden framed one. Further, stage 1 represents the largest part of embodied carbon, 87% for the concrete frame and 84% for the wooden frame, and stage 2 represents a very small part for both types of buildings, 1% for the concrete frame and 2% for the wooden fame.

Individuals with Autism Spectrum Disorder (ASD) are typified by deficits in social communication, including flat and disorganized affect. Previous research investigating affect production in ASD has demonstrated that individuals on the spectrum show impairments in posing, but not mimicking facial expressions. These findings thus point to a deficit in ASD individuals’ integration of sensory/motor facets in the cognitive representation of a facial expression, and not a deficit in motor or sensory ability. The goal of the current project was to validate a computer-based intervention that targets facial expression production using methods ground in embodied cognition to connect between the sensory and motor facets of facial displays. The “FaceMaze” is a pac-man like game in which players navigate through a maze of obstacles, and are required to produce high-quality facial expressions in order to overcome obstacles. FaceMaze relies on the Computer Expression Recognition Toolbox (CERT) program, which analyzes user’s real-time facial expressions and provides feedback based on the Facial Action Coding System (FACS). In the first part of this project, the FaceMaze was validated using a typically developing (TD) adult population. In Experiment 1, participants were prompted to produce expressions of “Happy”, “Angry” and “Surprise” before and after playing FaceMaze. Electromyography (EMG) analysis targeted three expression-specific facial muscles: Zygomaticus Major (ZM, Happy), Corrugator Supercilii (CS, Angry) and Obicularis Oculi (OO, Surprise). Results showed that relative to pre-game productions, an increase in activation in the ZM for happy expressions, and an increase in CS response for angry expressions was observed after playing the corresponding version of FaceMaze. Critically, no change in muscle activity for the control expression “Surprise” was observed. In Experiment 2, the perceived quality of facial expressions after FaceMaze/ CERT training was compared to those produced after traditional FACS training. “Happy,” “Angry” and “Surprise” expressions were videotaped before and after the FaceMaze game and FACS training, and productions were assessed by a group of naïve raters. Whereas observers rated post-Happy expressions as happier for both FaceMaze and FACS, only the post-Angry expressions in the FaceMaze condition were rated as angrier and less happy after training. In the second half of this project, the efficacy of the FaceMaze was validated by children with ASD, and age- and IQ-matched, typically developing (TD) controls. In Experiment 3 (in press), children were asked to pose “Happy “, “Angry”, and “Surprise” expressions before and after game-play. Expressions were video-recorded and presented to naïve raters who were required to assess video-clips on expression quality. Findings show that the ASD groups’ post-FaceMaze “Happy” and “Angry” expressions were higher in quality than their pre-FaceMaze productions. TD children also showed higher expression quality ratings for the “Angry” expression post-gameplay, but no enhancement of the “Happy” expression was found after FaceMaze. Moreover, the ASD groups’ post-FaceMaze expressions were rated as equal in quality to those of the TD group. These findings not only underscore the fidelity of the FaceMaze game in enhancing facial expression production, but also provide support for a theory of disordered embodied cognition in ASD. / Graduate / igordon@uvic.ca

This thesis interweaves the Reggio Emilia preschool model of atelier (art studio) and atelierista (artist educator), autobiography, timeless and embodied learning. I am interested in exploring approaches in which visual arts education in elementary schools disrupts traditional ways of knowing and learning about art. When an atelierista is embraced in the school environment, a rupture emerges in the landscape of education; one that recognizes the interconnectivity of things, and values difference and unknown. For this reason, I align my research with a form of inquiry – a/r/tography, which acknowledges intertwining roles of artist/researcher/teacher as integral parts of the research process. As such, my own art making is used as a form of inquiry and language in the text of this thesis.

RODRIGUES FILHO, Carlos Roberto. A evolução do projeto computacional para uma inteligência artificial e as novas perspectivas oferecidas pelos avanços da cognição enativa. 2012. 67 f. Dissertação (Mestrado em ciência da computação)- Universidade Federal do Ceará, Fortaleza-CE, 2012. / Submitted by Elineudson Ribeiro (elineudsonr@gmail.com) on 2016-07-11T12:01:27Z No. of bitstreams: 1 2012_dis_crrodriguesfilho.pdf: 1983554 bytes, checksum: 6cf80c0830cd842e16cfc6099bae1e00 (MD5) / Approved for entry into archive by Rocilda Sales (rocilda@ufc.br) on 2016-07-14T15:28:54Z (GMT) No. of bitstreams: 1 2012_dis_crrodriguesfilho.pdf: 1983554 bytes, checksum: 6cf80c0830cd842e16cfc6099bae1e00 (MD5) / Made available in DSpace on 2016-07-14T15:28:55Z (GMT). No. of bitstreams: 1 2012_dis_crrodriguesfilho.pdf: 1983554 bytes, checksum: 6cf80c0830cd842e16cfc6099bae1e00 (MD5) Previous issue date: 2012 / The development in the Artificial Intelligence (AI) field brought great improvement to the resolution of computationally hard problems. However, the early goal of AI, of implementing a genuine intelligence in an artificial way, was not achieved. Therefore most of the field’s researchers changed their research’s focus to problem resolution, quitting the goal of an artificial intelligence. To keep pursuing that goal others researchers started questioning the philosophical principles of AI and they took new routes. Some of them realized that the process of intelligence is not purely mental. According to this new view the body has a fundamental role in the cognitive process. From this point of view, aiming to overcome traditional obstacles of AI, the Embodied AI emerged. It has a strong tendency to implementation in robots, to develop a better design of the body. Despite having achieved improvements over the problem of traditional AI, Embodied AI started to present its own limitations. Then came the idea that a genuinely intelligent agent must formulate its own problems from the perception of reality, constructed in terms of their sensory-motor apparatus. In other words, the genuine intelligence is linked to the agent’s autonomy. The Enactive AI appeared influenced by biological studies about autonomy. In this AI field the goal is to build an autonomous artificial agent. This paper reports the trajectory of AI since its foundation, through strand of Embodied AI, and pointing to a possible new paradigm of Enactive AI. In addition, we analyse and discuss the processes that led researchers to question the philosophical basis of IA and formulate new concepts about what intelligence is. / O desenvolvimento da área de Inteligência Artificial (IA) trouxe grandes avanços para a resolução de problemas computacionalmente difíceis. No entanto, a meta inicial da IA, de implementação de uma inteligência genuína de forma artificial, ainda não foi alcançada. Por isso, a grande maioria dos pesquisadores da área mudou o foco de suas pesquisas para resolução de problemas, em geral abandonando a meta de uma inteligência artificial. Para continuar perseguindo essa meta, outros pesquisadores passaram a questionar os princípios filosóficos da IA e tomar novos rumos. Alguns deles perceberam que o processo da inteligência não é puramente mental. De acordo com essa nova visão, o corpo tem um papel fundamental no processo cognitivo. A partir desse ponto de vista, visando superar obstáculos tradicionais da IA, surgiu a IA Corporificada. Esta tem uma forte tendência a implementação em robôs, para se desenvolver um melhor projeto sobre o corpo. Porém, apesar de ter obtido avanços em relação a problema da IA tradicional, a IA Corporificada começou a apresentar suas próprias limitações. Surgiu então a ideia de que um agente genuinamente inteligente deve formular seus próprios problemas a partir da percepção da realidade, construída em termo do seus aparato sensório-motor. Em outras palavras, a inteligência genuína está ligada à autonomia do agente. A IA Enativa surgiu influenciada por estudos biológicos a respeito da autonomia. Nessa área da IA a meta é construir um agente artificial autônomo. Este trabalho relata a trajetória da IA desde a sua fundação, passando pela vertente da IA Corporificada, e apontando um possível novo paradigma da IA Enativa. Além disso, nós Analisamos e discutimos os processos que levaram pesquisadores a questionar o embasamento filosófico da IA e a formular novos conceitos a respeito do que é inteligência.

This thesis formulates a practice-based approach to performances of breathlessness on the page. It investigates breathlessness as a subject of creative practice through performance writing, creating different works that function as material object, site as well as score for future performance permutations. These works each examine different aspects of breathlessness, with a focus on the corporeal, affect and between-ness. The relationship of these performance works to the body, affect, time and duration establish the performative possibilities of writing and how this specific form of artistic practice contributes to discourse surrounding live work. My research does not distinguish between the contributions of practice and critical analysis. The outcome of the research is three works, one of which is embedded within this document, and a critical analysis that explores the different ways breathlessness performs on the page. Key to my research is a negotiation of understandings of lessness. Breathless performance writing posits a concept of lessness as other than absence. The ability of the practice-based work to initiate experiences that engage with the body, time and duration also demonstrate forms through which writing can generate as well as directly participate in performance. This research contributes to the field of contemporary performance and theatre practice by defining the live in relation to writing as well as developing a concept of lessness. The distinction between writing and performance leads to unnecessary schisms between the two disciplines. This body of research demonstrates the ways in which performance writing bridges these disciplines to initiate live work. This research disrupts conventional and binary definitions of breathlessness, performance and writing. Performance writing initiates live experiences for audiences of one or many, unbound to any one point in time, capable of generating multiple but unique live encounters with performance.

abstract: This thesis document encapsulates the findings of my research process in which I studied my self, my artistic process, and the interconnectivity among the various aspects of my life. Those findings are two-fold as they relate to the creation of three original works and my personal transformation through the process. This document encapsulates the three works, swimminginthepsyche, applecede and The 21st Century Adventures of Wonder Woman, chronologically from their performance dates. My personal growth and transformation is expressed throughout the paper and presented in the explanation of the emergent philosophical approach for self-study as creative practice that I followed. This creative-centered framework for embodied transformation weaves spiritual philosophy with my artistic process to sustain a holistic life practice, where the self, seen as an integrated whole, is also a direct reflection of the greater, singular and holistic existence. / Dissertation/Thesis / M.F.A. Dance 2013

abstract: This ethnographic research focuses on the specific creative processes of one dance-maker who worked collaboratively with seven dancers, a sound designer, a costume designer, and a narrative speaker. Together they created an evening-length dance work entitled "The Now Creature." Throughout the creative process, the dance-maker was interested in noticing attachments, finding freedom from these attachments, and being aware of how the work was affected by the choice to detach or remain attached to certain ideas. This interest stemmed from the dance-maker/researcher's interest in Buddhist philosophy and a system of decision-making she had been developing since childhood. The creative process for "The Now Creature" began with experiments in chance procedures as a method of non-attachment. After the first public showing of the piece, the process shifted to include intuition and aesthetic integration. "Embodied nowness," or the awareness of one's physical and mental sensations in the present moment, played an important role in rehearsals and in the overall process of letting go of attachments. All collaborators kept journals and were usually given specific prompts about which to write. The researcher/dance-maker also conducted one-on-one verbal interviews and group discussions with the collaborators. These data informed the development of the work presented on January 31-February 2 at Arizona State University, Findings from this research can be applied to any kind of creative process, or any life situation that includes decision-making. / Dissertation/Thesis / M.F.A. Dance 2014

Contemporary crisis literature often returns to [in]famous and extraordinary cases with a recurring conclusion of how ill-irrational human factors lead to disastrous escalation. I argue in every crisis observed, there are human traits and paradoxes visible that commit itself to survival that can help us to explain how and why escalation occur. To enable escalation we inevitably construct realities to define aims to solve the crisis. Still if these realities can be inherently viewed as illusionistic they are inevitable and inherent to our mental states. So far there is a lacuna about how actors embody the experience of everyday life and crisis as such. Lately, management literature starts to appreciate how rationality often begins with irrational impulses, but also how crisis is socially materialized that involves how escalation builds up. Finally, how it is incorporated into our cognitive frames that constitutes reality. From an embodied perspective, this thesis aims to answer two questions, how does escalation occur and why do we escalate? Based on data from 2016, present thesis conducted an in-depth case study to explore an impromptu rescue mission on Everest. Method used was a video ethnography of 120 video clips that was analyzed through grounded theory. Specifically targeting verbal and non-verbal communication between members which is referred as a study of embodied cognition. Findings show how we tend to thinking from previous patterns from previous events. Emotions and embodiment are influential but equally important in the process, emotions are communicated that commit actions that shapes the events to become alive. Why it accomplishes is through constant reframing. I argue that our cognitive frame is a fabrication and that the embodiment helps us to revise the reality and emotions. The constant revision is accomplished since our interpretation is intimately connected to the existing fabric that also determines the emotional state. I finally propose a concept that illustrate how the fabrication process goes in loops. The conclusion of this thesis suggests emotions as prominent when and how we experience the world, the embodied dimensions are highly influential and important which not only triggers but airborne the mental cognition by making the reality come “alive”.