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Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation

Drawing on a micro-phenomenological paradigm, we discuss Contact Improvisation (CI), where dancers explore potentials of intercorporeal weight sharing, kinesthesia, touch, and momentum. Our aim is to typologically discuss creativity related skills and the rich spectrum of creative resources CI dance...

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Detalles Bibliográficos
Autores principales: Kimmel, Michael, Hristova, Dayana, Kussmaul, Kerstin
Formato: Online Artículo Texto
Lenguaje:English
Publicado: MDPI 2018
Materias:
Acceso en línea:https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6027199/
https://www.ncbi.nlm.nih.gov/pubmed/29882858
http://dx.doi.org/10.3390/bs8060052
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author Kimmel, Michael
Hristova, Dayana
Kussmaul, Kerstin
author_facet Kimmel, Michael
Hristova, Dayana
Kussmaul, Kerstin
author_sort Kimmel, Michael
collection PubMed
description Drawing on a micro-phenomenological paradigm, we discuss Contact Improvisation (CI), where dancers explore potentials of intercorporeal weight sharing, kinesthesia, touch, and momentum. Our aim is to typologically discuss creativity related skills and the rich spectrum of creative resources CI dancers use. This spectrum begins with relatively idea-driven creation and ends with interactivity-centered, fully emergent creation: (1) Ideation internal to the mind, the focus of traditional creativity research, is either restricted to semi-independent dancing or remains schematic and thus open to dynamic specification under the partner’s influence. (2) Most frequently, CI creativity occurs in tightly coupled behavior and is radically emergent. This means that interpersonal synergies emerge without anybody’s prior design or planned coordination. The creative feat is interpersonally “distributed” over cascades of cross-scaffolding. Our micro-genetic data validate notions from dynamic systems theory such as interpersonal self-organization, although we criticize the theory for failing to explain where precisely this leaves skilled intentionality on the individuals’ part. Our answer is that dancers produce a stream of momentary micro-intentions that say “yes, and”, or “no, but” to short-lived micro-affordances, which allows both individuals to skillfully continue, elaborate, tweak, or redirect the collective movement dynamics. Both dancers can invite emergence as part of their playful exploration, while simultaneously bringing to bear global constraints, such as dance scores, and guide the collective dynamics with a set of specialized skills we shall term emergence management.
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spelling pubmed-60271992018-07-09 Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation Kimmel, Michael Hristova, Dayana Kussmaul, Kerstin Behav Sci (Basel) Article Drawing on a micro-phenomenological paradigm, we discuss Contact Improvisation (CI), where dancers explore potentials of intercorporeal weight sharing, kinesthesia, touch, and momentum. Our aim is to typologically discuss creativity related skills and the rich spectrum of creative resources CI dancers use. This spectrum begins with relatively idea-driven creation and ends with interactivity-centered, fully emergent creation: (1) Ideation internal to the mind, the focus of traditional creativity research, is either restricted to semi-independent dancing or remains schematic and thus open to dynamic specification under the partner’s influence. (2) Most frequently, CI creativity occurs in tightly coupled behavior and is radically emergent. This means that interpersonal synergies emerge without anybody’s prior design or planned coordination. The creative feat is interpersonally “distributed” over cascades of cross-scaffolding. Our micro-genetic data validate notions from dynamic systems theory such as interpersonal self-organization, although we criticize the theory for failing to explain where precisely this leaves skilled intentionality on the individuals’ part. Our answer is that dancers produce a stream of momentary micro-intentions that say “yes, and”, or “no, but” to short-lived micro-affordances, which allows both individuals to skillfully continue, elaborate, tweak, or redirect the collective movement dynamics. Both dancers can invite emergence as part of their playful exploration, while simultaneously bringing to bear global constraints, such as dance scores, and guide the collective dynamics with a set of specialized skills we shall term emergence management. MDPI 2018-05-23 /pmc/articles/PMC6027199/ /pubmed/29882858 http://dx.doi.org/10.3390/bs8060052 Text en © 2018 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/).
spellingShingle Article
Kimmel, Michael
Hristova, Dayana
Kussmaul, Kerstin
Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation
title Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation
title_full Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation
title_fullStr Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation
title_full_unstemmed Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation
title_short Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation
title_sort sources of embodied creativity: interactivity and ideation in contact improvisation
topic Article
url https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6027199/
https://www.ncbi.nlm.nih.gov/pubmed/29882858
http://dx.doi.org/10.3390/bs8060052
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