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Mind the Body:  Unearthing the affiliation between the conscious body and the reflective mind Eeva Anttila Theatre Academy...
Presuppositions <ul><li>Bodily knowledge and mental reflections are intertwined  </li></ul><ul><li>It is possible to facil...
Research question <ul><li>What kinds of mental reflections does bodily presence generate?  </li></ul>
Bodily Presence <ul><li>Being attuned to bodily sensations as they become present to consciousness; “listening to the body...
Mental Reflections <ul><li>Contents of consciousness, the whole sphere of human experience  </li></ul><ul><li>Prereflectiv...
Focus of the study <ul><li>Contents of consciousness that arise when attending to the body </li></ul><ul><li>The interplay...
Methodology: Introspection <ul><li>Observing inner reality as part of physical reality </li></ul><ul><li>Connection betwee...
Methodology, continued <ul><li>High articulation  means that the focal object becomes more detailed than we usually experi...
Procedures <ul><li>Combining movement, or bodily activity, introspection and writing </li></ul><ul><li>Introspection: cons...
Data analysis   <ul><li>Analysis included transcribing, reading, summarizing into one narrative </li></ul><ul><li>Qualitat...
THINKING  About thinking Gender Frictions SENSING Emotions Pain Bodily sensations Breath CONNECTING Relationships Body-Min...
General notions <ul><li>Ease and swiftness of the movement between perceiving, sensing and thinking </li></ul><ul><li>Inne...
Themes <ul><li>Observing : starts from the outer world, related to external senses </li></ul><ul><li>Thinking : topics are...
Excerpts from data:  Observing <ul><li>“ The air in the studio is quite bad and thick, even though the door is open. The b...
Thinking <ul><li>“ There is a lot of tension in my forehead – as if my thinking action took place there . . . I realize ho...
Sensing <ul><li>“ I feel that my neck is tight and there is a point close to my throat in which it becomes difficult to br...
Connecting <ul><li>“ I become warm and sweaty, energy is bubbling in me. Play arises from somewhere in my body.” </li></ul>
Discussion <ul><li>Meanings related to the body seem to bear special significance for dancers </li></ul><ul><li>They know ...
Pedagogical implications <ul><li>Deriving meanings from bodily experiences can support self-understanding and personal gro...
Why Mind the Body? <ul><li>Strengthening the connection between different modes of consciousness is a matter of finding mo...
More info <ul><li>http://www2.teak.fi/ challenge /   </li></ul><ul><li>http://www.teak.fi/general/Uploads_files/waysofkn.p...
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Eva Anttilamind The Body For Waae Rfg4

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Transcript of "Eva Anttilamind The Body For Waae Rfg4"

  1. 1. Mind the Body: Unearthing the affiliation between the conscious body and the reflective mind Eeva Anttila Theatre Academy [email_address]
  2. 2. Presuppositions <ul><li>Bodily knowledge and mental reflections are intertwined </li></ul><ul><li>It is possible to facilitate their relationship </li></ul>
  3. 3. Research question <ul><li>What kinds of mental reflections does bodily presence generate? </li></ul>
  4. 4. Bodily Presence <ul><li>Being attuned to bodily sensations as they become present to consciousness; “listening to the body” </li></ul><ul><li>By and large mediated by the proprioceptive system </li></ul><ul><li>Intertwined with bodily consciousness, i.e. historically and culturally constructed bodily knowledge </li></ul>
  5. 5. Mental Reflections <ul><li>Contents of consciousness, the whole sphere of human experience </li></ul><ul><li>Prereflective and reflective </li></ul><ul><li>Possibly conscious and already conscious; more or less clear </li></ul><ul><li>Sensations, images, dreams, thoughts </li></ul>
  6. 6. Focus of the study <ul><li>Contents of consciousness that arise when attending to the body </li></ul><ul><li>The interplay between different modes of consciousness </li></ul><ul><li>The relationship between prereflective and reflective consciousness (Maitland 1995) </li></ul><ul><li>The extent to which it is possible to become aware of prereflective experiences (Maitland 1995, Rauhala 2005) </li></ul><ul><li>The meanings that our bodily experiences generate when attended to (Rauhala 2005) </li></ul><ul><li>The relationship between the living body and the lived body: A “body-body” problem (Thompson 2007) </li></ul>
  7. 7. Methodology: Introspection <ul><li>Observing inner reality as part of physical reality </li></ul><ul><li>Connection between neural dynamics and phenomenal experiences (James 1890) </li></ul><ul><li>Neural, motor and cognitive structures are linked (Lakoff & Johnson 1999) </li></ul><ul><li>“ Our bodies shape the way we think” (Pfeifer & Bongard 2007) </li></ul><ul><li>Kinship to the method of phenomenological reduction (Vermersch 1999) </li></ul><ul><li>The “fringe” : As we focus on a certain aspect in our field of consciousness, other aspects fade into the background and become less clear (James 1890) </li></ul>
  8. 8. Methodology, continued <ul><li>High articulation means that the focal object becomes more detailed than we usually experience (James 1890) </li></ul><ul><li>Our perception of the body is vague (in the fringe) when there is no movement (Merleau-Ponty 1995/1962) </li></ul><ul><li>The felt-sense of the body can be heightened through movement: different forms of paying attention to things and perceiving are learned (Rouhiainen 2007) </li></ul>
  9. 9. Procedures <ul><li>Combining movement, or bodily activity, introspection and writing </li></ul><ul><li>Introspection: consciously directing attention to bodily sensations and accompanying mental reflections </li></ul><ul><li>Writing immediately after physical activity and introspection leaves a trace, a record, of mental reflections </li></ul><ul><li>Five persons (including myself) generated 22 pages of reflections </li></ul><ul><li>Female dance professionals, aged 30-50 </li></ul>
  10. 10. Data analysis <ul><li>Analysis included transcribing, reading, summarizing into one narrative </li></ul><ul><li>Qualitative, thematic analysis: classifying and labelling </li></ul><ul><li>11 topics and four themes </li></ul>
  11. 11. THINKING About thinking Gender Frictions SENSING Emotions Pain Bodily sensations Breath CONNECTING Relationships Body-Mind unity OBSERVING Environment Gaze
  12. 12. General notions <ul><li>Ease and swiftness of the movement between perceiving, sensing and thinking </li></ul><ul><li>Inner life seems to be spontaneous yet purposeful </li></ul><ul><li>The experiences and meanings that arose resemble improvisation where chance and purpose are intertwined </li></ul>
  13. 13. Themes <ul><li>Observing : starts from the outer world, related to external senses </li></ul><ul><li>Thinking : topics are characterized by “inner talk”; indirectly connected to outer perceptions or inner sensations </li></ul><ul><li>Sensing : directly connected to inner awareness or sensations </li></ul><ul><li>Connecting : represents connectedness with others and the world, and a transfer from a bodily sensation to reflective thought. </li></ul><ul><li>Connectedness: How meanings are situated in our lived body . </li></ul>
  14. 14. Excerpts from data: Observing <ul><li>“ The air in the studio is quite bad and thick, even though the door is open. The blinds on the windows are closed, and we are completely in our own world. Women together.” </li></ul>
  15. 15. Thinking <ul><li>“ There is a lot of tension in my forehead – as if my thinking action took place there . . . I realize how thoughts and concerns are located in my head – my forehead and face. How thinking generates tension in the face and in the muscles of the head. So, thinking blocks me. How could I be not thinking for a moment.” </li></ul>
  16. 16. Sensing <ul><li>“ I feel that my neck is tight and there is a point close to my throat in which it becomes difficult to breathe. Here I feel constricted . . . I feel that I am trying to retreat, to withdraw from being seen and addressed.” </li></ul>
  17. 17. Connecting <ul><li>“ I become warm and sweaty, energy is bubbling in me. Play arises from somewhere in my body.” </li></ul>
  18. 18. Discussion <ul><li>Meanings related to the body seem to bear special significance for dancers </li></ul><ul><li>They know through their bodies and about their bodies </li></ul><ul><li>They seem to be able to generate rich meanings based on their bodily experiences </li></ul><ul><li>Often these reflections are poetic and metaphoric in nature, and are related to existential questions and complex issues related to oneself, others and the world </li></ul>
  19. 19. Pedagogical implications <ul><li>Deriving meanings from bodily experiences can support self-understanding and personal growth </li></ul><ul><li>Sharing one’s own reflections with others can support mutual understanding and a more caring attitude towards others </li></ul><ul><li>Access to prereflective experiences may be a significant resource in all learning: a wider conception of learning and knowledge </li></ul><ul><li>Anyone can learn to “mind” their body </li></ul>
  20. 20. Why Mind the Body? <ul><li>Strengthening the connection between different modes of consciousness is a matter of finding more complexity and clarity at the same time; it is one way towards a meaningful life </li></ul>
  21. 21. More info <ul><li>http://www2.teak.fi/ challenge / </li></ul><ul><li>http://www.teak.fi/general/Uploads_files/waysofkn.pdf </li></ul>
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