No description available.

Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.

Embodied approaches to cognition consider themselves as alternatives to a brain-bound view of cognition. They decisively emphasize that the brain is not the minimal basis for cognition, but that the body plays a crucial role as well. But what do we actually mean by “the body” and to what extent is it a necessary condition for cognition? Is bodily action equated with movement? Is the human body just a biological phenomenon? How is it related to the human self and sociality? This thesis explores these questions by confronting embodied cognitive science with Locked-in Syndrome (LIS), a case of global paralysis, which despite the lack of voluntarily bodily action seems to leave the patient cognitively intact. I suggest that LIS poses a challenge to embodied cognitive science putting into question our basic assumptions on what it means to be a human cognitive system. A body without movement and a self whose connection to the social sphere is radically impoverished – how can we make sense of this? LIS challenges the concepts by which we describe the structure and various dimensions of cognition and it invites us to make explicit the background epistemology and general perspective through which we relate the different aspects of cognition. First, I provide an overview of the philosophy of cognitive science, from the orthodox perspective up to recent embodied cognitive science. I then introduce and clarify the enactive approach, an integrative framework for cognitive science that also serves as the epistemological basis of this thesis. Based on the different states of LIS I formulate a challenge to embodied cognitive science and discuss how the sensorimotor, functionalist and phenomenological approach to embodiment account for it. The discussion casts doubt on the assumption that a body has mainly to do with movement and it reposes the question how tool-use figures in cognition. It also brings to attention the dimension of bodily subjectivity and raises a much-neglected issue in recent cognitive science: the role of the body in social interactions. I show that these approaches to embodiment entail restrictive or loose notions of the body and are not fully able to account for cognition in LIS. I formulate a proposal for an enactive concept of the body integrating aspects from the sensorimotor and phenomenological approach to the body. I defend the idea that the enactive approach is the best framework in embodied cognitive science to counter the challenge posed by LIS and BCI. However, since embodied cognitive science entails an individualistic perspective not fully taking into account that humans are embedded in a social environment the question how the body matters in social interaction can also not be resolved from an enactive perspective on the body. In the last part of this thesis I thus propose transcending the level of individual embodiment. I make suggestions for elaborating on the enactive notion for the cognitive system (autonomy) from a social perspective. I propose to conceive of human mind in terms of a network that is based on the enaction of social processes of distinction and participation. Based on this notion I show how we arrive at an understanding of the human cognitive system which could ultimately account for the basic challenge posited by LIS – the clarification and interrelation of the concepts of body, self and sociality. In the last chapter I provide support for the plausibility for this proposal by applying it to another empirical context, namely psychiatry. What we think about the nature of human mind sets the ground for our thinking about breakdowns and what happens in cases when it does not work. I explore possible implications of the concept of socially enacted human autonomy for mental disorders in general, and for schizophrenia in particular.

Every music teacher is likely to teach one or more children with autism, given that an average of one in 54 persons in the United States receives a diagnosis of Autism Spectrum Disorder (ASD). ASD persons often show tremendous interest in music, and some even become masterful performers; however, the combination of deficits and abilities associated with ASD can pose unique challenges for music teachers. This experimental study shows that phonomimetic (conducting-like) gestures can be used to teach the expressive qualities of music. Children were asked to watch video recordings of conducting-like gestures and produce vocal sounds to match the gestures. The empirical findings indicate that motor training can strengthen the visual to vocomotor couplings in both populations, suggesting that phonomimetic gesture may be a suitable approach for teaching musical expression in inclusive classrooms.

No description available.

Este trabalho conta como uma experiência com tecnologias videográficas produziu efeitos nos modos de coordenar ações, produzir distinções e nas emoções de um grupo de trabalhadores e usuários de um serviço de saúde mental, o CAPS II Cais Mental Centro/POA. A Oficina de Imagens é uma atividade terapêutica onde ocorre a produção de imagens que podem resultar em filmes. A ideia central do trabalho gira em torno dos efeitos surgidos a partir da problematização sobre uma série de imagens videográfica produzidas pelo coletivo da Oficina postas ao descarte, e de outras, a serem aproveitadas para construção de um filme. O grupo é tomado por um estranhamento sobre que imagens poderiam ou não compor um filme. Na Oficina de Edição, foi proposto utilizar as imagens descartadas nonsense, ou seja, aquelas desfocadas, tremidas ou fora de enquadre para a construção de um ―outro‖ vídeo – sendo possível, portanto, incluir o que, em um primeiro momento, fora excluído. A edição foi realizada pelo grupo no editor de imagens digital Windows Movie Maker. Esse processo possibilitou produzir deslocamentos e modulações nas redes de conversação entre os participantes. É a partir dessa experiência, que o convidamos a acompanhar, através do efeito patckwork (recurso narrativo), os deslocamentos operativos que se produziram nestes encontros, nestas redes de conversação. Assim, em uma perspectiva metodológica de pesquisa-intervenção, apresentamos alguns deslocamentos, produzidos no fazer com a Oficina de Edição de Imagens. Esse encontro dos integrantes da Oficina com o computador, o editor de imagens, as imagens descartadas, as redes de conversação se dá na ação, no fazer que potencializa a inserção social, autoria e a construção de outros modos de relação com a saúde/loucura, constituindo um plano de compartilhamento e também político, ao operar experiências no plano do "comum". / The main objective of this study is to report how an experience with video technology changed the way the actions were coordinated, the distinctions and emotions are produced in the group of people who work and use the mental health service, o CAPS II Cais Mental Centro/POA. The Image Workshop is a therapeutic activity, in which there are image productions, and they can be transformed into many films. The research focuses on the effects that are trigged through the problematization, concerned to a serie of video images, produced by the group that participated of the Workshop, that were discarded, as well as on the others that were used in the construction of a film. The group was not sure which images could be used in the film. At the Editing Workshop, it was suggested that the discarded images, the nonsense ones, could be used: the ones that were blurred, blur and did not fit in the construction of a video, so we concluded that it was possible to add what was considered firstly something excluded. Editing was performed by the group in the digital image editing, through the Windows Movie Maker. The process trigged many other networks for dialogue, different from the one that was constructed at the Image Workshop inicially, but we cannot consider the former more or less important than the recently produced, they were just seen as new and an opportunity to share experiencies. So, we invit the reader to follow, through the pachwork effect (a narrative resource), the operative replacement that were produced in the Workshops, in the network dialogues. Thus, through a methodological perspective of an intervention research, we present some of the replacement, produced at Editing Image Workshop. The experience that the participants of the group had with the computer, the editing and discarted images, changed the networks for dialogue, that were performed in the action and while the images were produced, so that they develop social inclusion, authorship and the construction of many other ways to deal with health/mental illness, building a new plan of sharing and also political, when many experiences were operated in a level whose experience were shared by all the participantes.

Este trabalho conta como uma experiência com tecnologias videográficas produziu efeitos nos modos de coordenar ações, produzir distinções e nas emoções de um grupo de trabalhadores e usuários de um serviço de saúde mental, o CAPS II Cais Mental Centro/POA. A Oficina de Imagens é uma atividade terapêutica onde ocorre a produção de imagens que podem resultar em filmes. A ideia central do trabalho gira em torno dos efeitos surgidos a partir da problematização sobre uma série de imagens videográfica produzidas pelo coletivo da Oficina postas ao descarte, e de outras, a serem aproveitadas para construção de um filme. O grupo é tomado por um estranhamento sobre que imagens poderiam ou não compor um filme. Na Oficina de Edição, foi proposto utilizar as imagens descartadas nonsense, ou seja, aquelas desfocadas, tremidas ou fora de enquadre para a construção de um ―outro‖ vídeo – sendo possível, portanto, incluir o que, em um primeiro momento, fora excluído. A edição foi realizada pelo grupo no editor de imagens digital Windows Movie Maker. Esse processo possibilitou produzir deslocamentos e modulações nas redes de conversação entre os participantes. É a partir dessa experiência, que o convidamos a acompanhar, através do efeito patckwork (recurso narrativo), os deslocamentos operativos que se produziram nestes encontros, nestas redes de conversação. Assim, em uma perspectiva metodológica de pesquisa-intervenção, apresentamos alguns deslocamentos, produzidos no fazer com a Oficina de Edição de Imagens. Esse encontro dos integrantes da Oficina com o computador, o editor de imagens, as imagens descartadas, as redes de conversação se dá na ação, no fazer que potencializa a inserção social, autoria e a construção de outros modos de relação com a saúde/loucura, constituindo um plano de compartilhamento e também político, ao operar experiências no plano do "comum". / The main objective of this study is to report how an experience with video technology changed the way the actions were coordinated, the distinctions and emotions are produced in the group of people who work and use the mental health service, o CAPS II Cais Mental Centro/POA. The Image Workshop is a therapeutic activity, in which there are image productions, and they can be transformed into many films. The research focuses on the effects that are trigged through the problematization, concerned to a serie of video images, produced by the group that participated of the Workshop, that were discarded, as well as on the others that were used in the construction of a film. The group was not sure which images could be used in the film. At the Editing Workshop, it was suggested that the discarded images, the nonsense ones, could be used: the ones that were blurred, blur and did not fit in the construction of a video, so we concluded that it was possible to add what was considered firstly something excluded. Editing was performed by the group in the digital image editing, through the Windows Movie Maker. The process trigged many other networks for dialogue, different from the one that was constructed at the Image Workshop inicially, but we cannot consider the former more or less important than the recently produced, they were just seen as new and an opportunity to share experiencies. So, we invit the reader to follow, through the pachwork effect (a narrative resource), the operative replacement that were produced in the Workshops, in the network dialogues. Thus, through a methodological perspective of an intervention research, we present some of the replacement, produced at Editing Image Workshop. The experience that the participants of the group had with the computer, the editing and discarted images, changed the networks for dialogue, that were performed in the action and while the images were produced, so that they develop social inclusion, authorship and the construction of many other ways to deal with health/mental illness, building a new plan of sharing and also political, when many experiences were operated in a level whose experience were shared by all the participantes.

Este trabalho conta como uma experiência com tecnologias videográficas produziu efeitos nos modos de coordenar ações, produzir distinções e nas emoções de um grupo de trabalhadores e usuários de um serviço de saúde mental, o CAPS II Cais Mental Centro/POA. A Oficina de Imagens é uma atividade terapêutica onde ocorre a produção de imagens que podem resultar em filmes. A ideia central do trabalho gira em torno dos efeitos surgidos a partir da problematização sobre uma série de imagens videográfica produzidas pelo coletivo da Oficina postas ao descarte, e de outras, a serem aproveitadas para construção de um filme. O grupo é tomado por um estranhamento sobre que imagens poderiam ou não compor um filme. Na Oficina de Edição, foi proposto utilizar as imagens descartadas nonsense, ou seja, aquelas desfocadas, tremidas ou fora de enquadre para a construção de um ―outro‖ vídeo – sendo possível, portanto, incluir o que, em um primeiro momento, fora excluído. A edição foi realizada pelo grupo no editor de imagens digital Windows Movie Maker. Esse processo possibilitou produzir deslocamentos e modulações nas redes de conversação entre os participantes. É a partir dessa experiência, que o convidamos a acompanhar, através do efeito patckwork (recurso narrativo), os deslocamentos operativos que se produziram nestes encontros, nestas redes de conversação. Assim, em uma perspectiva metodológica de pesquisa-intervenção, apresentamos alguns deslocamentos, produzidos no fazer com a Oficina de Edição de Imagens. Esse encontro dos integrantes da Oficina com o computador, o editor de imagens, as imagens descartadas, as redes de conversação se dá na ação, no fazer que potencializa a inserção social, autoria e a construção de outros modos de relação com a saúde/loucura, constituindo um plano de compartilhamento e também político, ao operar experiências no plano do "comum". / The main objective of this study is to report how an experience with video technology changed the way the actions were coordinated, the distinctions and emotions are produced in the group of people who work and use the mental health service, o CAPS II Cais Mental Centro/POA. The Image Workshop is a therapeutic activity, in which there are image productions, and they can be transformed into many films. The research focuses on the effects that are trigged through the problematization, concerned to a serie of video images, produced by the group that participated of the Workshop, that were discarded, as well as on the others that were used in the construction of a film. The group was not sure which images could be used in the film. At the Editing Workshop, it was suggested that the discarded images, the nonsense ones, could be used: the ones that were blurred, blur and did not fit in the construction of a video, so we concluded that it was possible to add what was considered firstly something excluded. Editing was performed by the group in the digital image editing, through the Windows Movie Maker. The process trigged many other networks for dialogue, different from the one that was constructed at the Image Workshop inicially, but we cannot consider the former more or less important than the recently produced, they were just seen as new and an opportunity to share experiencies. So, we invit the reader to follow, through the pachwork effect (a narrative resource), the operative replacement that were produced in the Workshops, in the network dialogues. Thus, through a methodological perspective of an intervention research, we present some of the replacement, produced at Editing Image Workshop. The experience that the participants of the group had with the computer, the editing and discarted images, changed the networks for dialogue, that were performed in the action and while the images were produced, so that they develop social inclusion, authorship and the construction of many other ways to deal with health/mental illness, building a new plan of sharing and also political, when many experiences were operated in a level whose experience were shared by all the participantes.

Radically Enactive Cognition (REC) claims that basic cognition is contentless and that non-basic cognition is contentful. This thesis argues that, as REC stands now, the position’s understanding of contentful cognition is unclear. Furthermore, the thesis focuses on the unclearness of whether REC conceives of contentful cognition as dynamical or as computational as a way to evaluate whether or not REC provides a substantially different account of cognition. The thesis further argues that both options are problematic and that there are good reasons to question whether REC has succeeded in providing a substantially different account of cognition. This is because if contentful cognition is understood as computational it implies giving up on enactivism, whereas, if it is understood as dynamical, REC’s account of content risks collapsing into either computationalism (or something close to computationalism, by understanding contentful cognition as the rule-based manipulation of representational content) or eliminativism.

Baseada na abordagem da cognição enativa (VARELA, F.,1990), a temática principal deste estudo tem como objetivo abordar o acesso e exploração dos conhecimentos pré-refletidos numa experiência vivida em primeira pessoa. Para tanto, primordialmente, utiliza-se como eixo teórico, o desenvolvimento husserliano (1913/2006) sobre a redução fenomenológica-èpoché. Por sua vez, o fio condutor do desenvolvimento da práxis da pesquisa, orienta-se pelos estudos dos pesquisadores Depraz, Varela e Vermersch (2003) que a partir da releitura da obra de Husserl, propõem uma abordagem pragmática da experiência de como podemos nos tornar cientes da nossa própria consciência em ação, denominada de devir-consciente. Esta modalidade de atenção é acessada em primeira pessoa e para ser alcançada necessita ser cultivada. Na pesquisa que realizamos, os eventos em primeira pessoa aconteceram a partir de experiências de aprendizagem da matemática vivenciadas por dois alunos que apresentaram dificuldades de aprendizagem nesta área do conhecimento: ambos alunos frequentavam o Laboratório de Aprendizagem (LA) da Rede Municipal de Ensino de Porto Alegre. Utilizou-se a técnica da Entrevista de Explicitação (VERMERSCH, P.,2003) com os alunos durante as sessões de aula do LA, como instrumento de acesso aos conhecimentos pré-refletidos e como ferramenta de intervenção pedagógica para o acolhimento de breakdowns e cultivo do processo de devirconsciente. Esta técnica foi criada por Vermersch (2003), sendo embasada nos pressupostos da fenomenologia husserliana e na teoria de Piaget (1973,1977) sobre a tomada de consciência. O estudo sugeriu que é possível desenvolver nos alunos o cultivo da habilidade de torná-los cientes do seu fluxo cognitivo. Esta possibilidade foi alcançada a partir de um trabalho prático e disciplinado de atenção e acesso às experiências singulares de aprendizagem e conhecimentos ainda pré-egóicos e portanto, pré-refletidos nos alunos. Igualmente, o emergir dos momentos de breakdowns demonstraram ser sinalizadores importantes (DE-NARDIN, SORDI, 2007) e que, quando acolhidos pelo aluno e professor, podem servir como disparadores do processo de devir-consciente. Do ponto de vista da cognição, o desenvolvimento desta modalidade atencional que resgata os conhecimentos pré-refletidos do aluno, pode trazer a tona um manancial de conhecimentos e saberes teoricamente acessíveis, porém usualmente pouco explorados em situações de ensino-aprendizagem. / Based on the enactive cognitive approach (VARELA, F.,1990) , the main theme of this study is concerned to the access of one’s pre-reflected knowledge in a vivid experience in first person. The main theoretical ground comes from Husserl´s phenomenological development of èpoché (1913/2006). In turn, the main stream of the research praxis is guided by studies performed by researchers such as Depraz, Verela and Vermersch (2003), who reread Husserl’s work and proposed a pragmatic approach of the experience of becoming-aware of one’s own awareness in action. This modality of attention can be accessed in first person and, to be achieved, it needs to be cultivated. In this research, the first person events were developed in math learning experiences lived by two students who showed learning disabilities in that field. Both students attended the Learning Laboratory (LL) in a municipal public school of Porto Alegre. The Explicitation Interview Method (VERMERSCH, P.; 2003) was used with the students during the LL class sessions as a tool to access pre-reflected knowledge as well as a tool for pedagogical intervention during breakdowns and becoming-aware process of development. This method was based on Husserl’s phenomenology and on Piaget’s assumptions about the grasp of consciousness (1973,1977). The study suggested that it is possible to develop the student’s ability of becoming aware of her/his own cognitive flow. This possibility was achieved from a practical and disciplined work of attention in order to access to the particular experiences of learning which were still pre-reflexive and pre-egoic. Likewise, the emergence of breakdown moments showed to be an important sign (DENARDIN, M.H. & SORDI, R. 2007) which, once accepted by student and teacher, served as a trigger the becoming-aware process. From the point of view of cognition, the development of this modality of attention that recovers the student’s pre-reflected knowledge, can bring to surface a great variety of theoretical known devices although usually less explored in teaching-learning situations.