аЯрЁБс>ўџ _aўџџџ^џџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅС%` №Пqbjbj"x"x 3@@qџџџџџџЄўўўўўўў4Дllll x ш„ ~kkk       $ hj:) ўёkkёё) ўўл> п п п ёdўў п ё п п ўўп „ Pћ­/ЩlU pп  T 0„ п ЄХ Єп Єўп $kп  ™Xkkk) ) е kkk„ ёёёёшшш„lшшшl&4ўўўўўўџџџџ Artistic performance as expert habitus: situated acts of self-reflective embodied practices Kathleen Coessens Professor Center for Logic and Philosophy of Science, Free University of Brussels Artistic performance, as in dance and music, demands the re-enactment/execution of previously imprinted and embodied expert practices. Such practices can be called an artist's expert habitus, combining embodied schemata and artistic expert know-how. The schemata structure perception, thought, action and communication that can be adapted and recoordinated in specific situations — Bourdieu's habitus; the know-how is the result of consciously directed and rehearsed practices and skills. I propose to consider the artistic performance act as a situated instance of the performer's expert habitus. In the artistic act/moment of performance four dimensions will be distinguished. 1) The background dimension concerns the 'virtually' present capacities: the experience and expertise, the embodied and cognitive schemata, the explicit and tacit knowledge the artist has previously acquired (P. Bourdieu, M. Polanyi, J.R. Searle, G. Edelman). 2) The dynamic dimension is the time- or process-dimension of the performance act, the movement in time: action, expectation, continuity of the unfolding practice and time-boundedness (D. Huron). 3) The situated dimension means that artistic performance happens in an ecological space: every act is situated. Different environments lead to different expectations. The artist has to cope with the resistance and/or the affordances of the world — space, objects, acoustics, audience… (Clancey, A. Clark, Gibson). 4) The self-reflective embodied dimension relates to the artist him/herself as an embodied being, coordinating the three other dimensions in relation to his own bodily awareness and perception. The four dimensions are dynamically integrated into the artistic performance. Aspects such as thought in action, anticipation, adjustment, scaffolding and recoordination in activity patterns occur across several dimensions. These transversal aspects will be illustrated with examples from dance and music practice. 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Index $^Jqџџџџq\]oСТУjn2‚sA#ЌA#ЌA#ЌA#ЌA#ЌџA#YџA#вШ*џA#O џA#O џA#Иo%џA#O \]oСТУjn2‚ps˜0€€˜@0€€˜@0€€˜@0€€˜@0€€˜@0€€˜@0€€˜@0€€˜@0€€˜@0€€˜@0€€˜0€€q q q №8№@ёџџџ€€€ї№’№№0№( № №№B №S №ПЫџ ?№џџЩŠ МEw]sns>*€urn:schemas-microsoft-com:office:smarttags €PersonName€ ф› [oСУž'AKLSos[oРУНijmn12no‚ospssх:^=‹LYv`ˆџ@€ppШM/ppqP@џџUnknownџџџџџџџџџџџџG‡z €џTimes New Roman5€Symbol3& ‡z €џArial;& ‡z €џHelveticaU Arial Unicode MSArial5& ‡za€џTahomaBAˆХhjђЧf"ƒЪ†Q-B/ƒB/!r4dmm2ƒQмHP)№џ?џџџџџџџџџџџџџџџџџџџџџv`ˆВџџblabadieўџр…ŸђљOhЋ‘+'Гй00q˜ ЌИФар є  , 8 DPX`hpфNormal blabadie4Microsoft Office Word@вIk@ ЪŸƒ>@ФЂ JђШ@LўЌ/ЩB/GИoџџџџRtЕ Ь7&" WMFCЉ“ Ш,ШLl`gRt EMFШLЧ$ЯI*U"   `gRpœџџџ@Times New Roman§ш"$$#$дш) }]‘|м"$œ§Д]‘|ј›§H"$Јц) ”ц) Hц)  ˜ц) ѕS‘|pц) @ЬЊ0„ЬЊ0dП0фдДц) 3R‘|œц) д‘|(ч) G‡z €џTimes ew Roman@ч) ђД0@ч) lNЏ0Xч) dv% %   TММXђ Щ/‡@€‡@МВ=L`gШArtistic performance as expert habitus: situated acts of selfH!',2,!!2!N,3,,,'-32,!2,22''2,,2,,'2!',!TTщ X Щ/‡@€‡@щ ВL`gP-!Tќ XЂЩ/‡@€‡@ ВL`gˆreflective embodied practices!-!,,2,,N222,22!,,-,'TTЃXаЩ/‡@€‡@ЃВL`gP . TTА Ым </‡@€‡@А %L`gP - TД5>) Џ/‡@€‡@5˜L`gpKathleen CoessensH,2,,2C2,'',2'TT* >W Џ/‡@€‡@* ˜L`gP z. T4;Б#"/‡@€‡@; QL`g№Professor Center for Logic and Philosophy of Science, Free University of Brusselsz8!2!,''2!C,2,!!2!<32,,22822'22302!8,-2,,8!,,H22,!'02!C!2'','TT$БP"/‡@€‡@$ L`gP - TTX$„•/‡@€‡@X~L`gP - TT—Ћ/‡@€‡@ёL`gP - TА}ъ ю/‡@€‡@з;L`gФArtistic performance, as in dance and music, demands the reH!',2,!!2!N,3,,,'22,2,,,22N2',2,N-22'2,!,TTы } ю/‡@€‡@ы зL`gP-!TT }7 ю/‡@€‡@ зL`gPe,Tа8 }Эю/‡@€‡@8 зL`gxnactment/execution of 3,,N,2,3-,2222! T|XcКд/‡@€‡@XН]L`gpreviously imprinted and embodied expert practices. Such practices can be called an artist's z2!,222'0N2!2,2,23,N222,2,32,!2!,,-,'82,22!,,-,',,23,,,,2,2,!'' TPXI™ К/‡@€‡@XЃ+L`gЄexpert habitus, combining embodied schemata,32,!2,22',2N2221,N222,2(,2,N,,Tф™ Iw К/‡@€‡@™ ЃL`g€ and artistic expert know,32,!',,32,!222HTTw I— К/‡@€‡@w ЃL`gP- !Td˜ IWК/‡@€‡@˜ ЃL`gThow.23BTTXInК/‡@€‡@XЃL`gP TœoIЏК/‡@€‡@oЃ L`ghThe schemata =2,',2,N,, TX/§  /‡@€‡@X‰6L`gИstructure perception, thought, action and communicatio'!2,2!,2-!,,22223212-,22,22,2NN23,,2Tшў /  /‡@€‡@ў ‰L`g€n that can be adapted and 22,,,22,,2,2-2,22 T,X ц† /‡@€‡@Xo %L`g˜recoordinated in specific situations (!,,22!23,,22'2,,!,'2,22'TTц K† /‡@€‡@чo L`gP 7dTќK ё † /‡@€‡@Ko L`gˆ Bourdieu's habitus; the knowIB22!2,3'2,22'2,222HTTё   † /‡@€‡@ё o L`gP-6!TЬ  )† /‡@€‡@ o L`gxhow is the result of x22H'2,!,'22! TtXћ /l /‡@€‡@XU \L`gconsciously directed and rehearsed practices and skills. I propose to consider the artistic ,22',22'02",,,2,22!,2,-!',22",,-,',22(2'2!222',2,22'3,!2,-!', TtXс и R /‡@€‡@X; 1L`gАperformance act as a situated instance of the perC2,!!2!N,3,,,,,','2,,22',2,,3!2,2,"Tфй с Ё R /‡@€‡@й ; L`g€former's expert habitus. n!3!N,"',32,!2,22'TЌЂ с ЪR /‡@€‡@Ђ ; L`glIn the artistic 22,,!', TЬXЧ С 8 /‡@€‡@X! @L&" WMFC Ш ШL`gЬact/moment of performance four dimensions will be distinguished.,,N2N,22!2,!!3!N,3,,!22!2N,2'22'H3,2'212'2,2TTТ Ч я 8 /‡@€‡@Т ! L`gP S. TtX­ Р /‡@€‡@X \L`g1) The background dimension concerns the 'virtually' present capacities: the experience and 2!=2,2-,31!22222N-2'22,22,,!2'2,2!3-02!,(,2,,3,,,'2,,32,!,2,,,22 TЈX“  /‡@€‡@Xэ :L`gРexpertise, the embodied and cognitive schemata, the explic,32,!',2,,N222,2-22,2122,',3,N,,3,,32,TŽ “ /‡@€‡@Ž э "L`git and tacit knowledge the artist ,22,,222H,22,2,-!' TXy&ъ/‡@€‡@XгKL`gфhas previously acquired (P. Bourdieu, M. Polanyi, J.R. Searle, G. Edelman).2,'2!,222'0,,22",2"-B22!2,2Y82,30(C8,,!,<=2,N,2!TT'ySъ/‡@€‡@'гL`gP - T$X_Bа/‡@€‡@XЙ$L`g”2) The dynamic dimension is the time2!=2,402,N,2N,2'32'2,N,TTC_cа/‡@€‡@CЙL`gP-!Td_ а/‡@€‡@dЙ L`gd or process2!2!2,,''TT _5 а/‡@€‡@ ЙL`gP-"T06 _:а/‡@€‡@6 Й&L`g˜dimension of the performance act, the 2N,2'222!2,2,!!2!O,2,,,,2, TАXEš Ж/‡@€‡@XŸ;L`gФmovement in time: action, expectation, continuity of the unN22,N,22N,,,22,32,,,22,222202!2,22Tф› E…Ж/‡@€‡@› ŸL`g€folding practice and time!22213!,,--,22N,TT†EІЖ/‡@€‡@†ŸL`gP-! TиX+Jœ/‡@€‡@X…L`g|boundedness (D. Huron).22222,22,''!HH3!22!TTK+wœ/‡@€‡@K…L`gP - ThX‰‚/‡@€‡@XkZL`g3) The situated dimension means that artistic performance happens in an ecological space: 2!=2,'2,,22N,2'32N,,2'2,,!',2,""2!N,2,,3,22,2'2,2-,221-,'2,-, TŒXїЕh/‡@€‡@XQ`L`g every act is situated. Different environments lead to different expectations. The artist has to ,2,#0-,''2,,2H",!,2,22!22O,2',,222!,",2,32,,,22'=2,,!'2,'2 TФXн]N/‡@€‡@X7L`gtcope with the resist,22,H22,!,''TH^но N/‡@€‡@^7*L`g ance and/or the affordances of the world ,3,,,222!2,-!2!3,2,,'3"2,H2!2TTо нC N/‡@€‡@п 7L`gP dTєC нYN/‡@€‡@C 7L`g„ space, objects, acoustics, '2,-,22,,',,22',' T8XУХ4/‡@€‡@X'L`gœaudience& (Clancey, A. Clark, Gibson). ,22,2,,d!C,2,.*HC,!2H2'22!TTЦУ 4/‡@€‡@ЦL`gP K TXЉ/‡@€‡@X L`gd4) The self2!=2,',"TTЉ'/‡@€‡@L`gP-!T,(Љ/‡@€‡@(PL`gьreflective embodied dimension relates to the artist him/herself as an embodied !-!,,2,,N222,22N,2'22!,,,(22,,!'2N2,!',!,',2,N222,2 TŒX‚ /‡@€‡@Xщ5L`gИbeing, coordinating the three other dimensions in re2,21,22!22,312,2!,,22-!2N,2'z&ъ WMFCШ ШL22'2!,T8ƒ Џ/‡@€‡@ƒ щ'L`gœlation to his own bodily awareness and ,2222'2H22220-H,",2,'',22 ThXu`ц/‡@€‡@XЯZL`gperception. The four dimensions are dynamically integrated into the artistic performance. 2,!,,222=3,!22!2O,2'22',!,403,N,,02,1",,2222,-!',2,!!2!N,3,,TTauŽц/‡@€‡@aЯL`gP . TˆX[ўЬ/‡@€‡@XЕ_L`g Aspects such as thought in action, anticipation, adjustment, scaffolding and recoordination in H'2,,''2,2,'223122,,22,2,2,22,22'N,2',,!2231,22!,,22!23,222% €6g6`g6`66f6_f6_66e6^e6^66d6]d6]66c6\c6\66b6[b6[66a6Za6Z66`6Y`6Y66_6X_6X6 6 ^6W^6W 6  6 ]6V]6V 6  6 \6U\6U 6  6 [6T[6T 6  6 Z6SZ6S 6 6Y6RY6R66X6QX6Q66W6PW6P66V6OV6O66U6NU6N6  f.ћ№џ@Times New Roman-- g2 oo=gArtistic performance as expert habitus: situated acts of selfe   2 oхg-H72 oъgreflective embodied practices  2 oЅg H 2 Šg H%2 ”NgKathleen Coessensi   2 ”Чg H…2 І„QgProfessor Center for Logic and Philosophy of Science, Free University of Brussels       2 І‘g H 2 Й_g H 2 ЫŽg Hd2 №Ž;gArtistic performance, as in dance and music, demands the rel     2 №g-H 2 №geH,2 №gnactment/execution of  —2 _]gpreviously imprinted and embodied expert practices. Such practices can be called an artist's n   L2 :_+gexpert habitus, combining embodied schemata    12 :‡g and artistic expert knowi 2 :$g-H2 :)ghow.  2 :Hg H2 :L gThe schemata   \2 __6gstructure perception, thought, action and communicatio 22 _Рgn that can be adapted and C2 „_%grecoordinated in specific situations  2 „Bg—H72 „Rg Bourdieu's habitus; the know  2 „g-H+2 „ghow is the result of  •2 Љ_\gconsciously directed and rehearsed practices and skills. I propose to consider the artistic U2 Ю_1gperformance act as a situated instance of the perc  12 Ю‘gformer's expert habitus. k #2 Ю+gIn the artistic k2 ѓ_@gact/moment of performance four dimensions will be distinguished.      2 ѓg H•2 _\g1) The background dimension concerns the 'virtually' present capacities: the experience and   b2 =_:gexpertise, the embodied and cognitive schemata, the explic     >2 =ж"git and tacit knowledge the artist  |2 a_Kghas previously acquired (P. Bourdieu, M. Polanyi, J.R. Searle, G. Edelman).i        2 a@g HA2 †_$g2) The dynamic dimension is the time     2 †Pg-H2 †V g or process 2 †šg-HD2 † &gdimension of the performance act, the   d2 Ћ_;gmovement in time: action, expectation, continuity of the uns    12 Ћйgfolding practice and timek  2 Ћxg-H.2 а_gboundedness (D. Huron).   2 аg H’2 ѕ_Zg3) The situated dimension means that artistic performance happens in an ecological space:     ›2 _`gevery act is situated. Different environments lead to different expectations. The artist has to    )2 ?_gcope with the resist J2 ?л*gance and/or the affordances of the world    2 ?уg—H52 ?ѓg space, objects, acoustics, F2 d_'gaudience… (Clancey, A. Clark, Gibson).      2 deg H 2 ‰_ g4) The self  2 ‰Єg-Hƒ2 ‰ЉPgreflective embodied dimension relates to the artist him/herself as an embodied     [2 Ў_5gbeing, coordinating the three other dimensions in reo F2 ЎЌ'glation to his own bodily awareness and   ’2 г_Zgperception. The four dimensions are dynamically integrated into the artistic performance.      2 г›g Hš2 ј__gAspects such as thought in action, anticipation, adjustment, scaffolding and recoordination in  ћМ"System-ggffffffffffffeeeeeeeeeeeeddddddddddddўџеЭеœ.“—+,љЎ0 hp”œЄЌ ДМФЬ д сфЮоТыЪгЦЕ Atlantic Universitym'  Title ўџџџўџџџўџџџ !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUўџџџWXYZ[\]ўџџџ§џџџ`ўџџџўџџџўџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџRoot Entryџџџџџџџџ РF@Ж!­/Щb€Data џџџџџџџџџџџџ 1TableџџџџWordDocumentџџџџ3SummaryInformation(џџџџџџџџџџџџ`qDocumentSummaryInformation8џџџџџџџџVCompObjџџџџџџџџџџџџqџџџџџџџџџџџџўџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџўџ џџџџ РFMicrosoft Office Word Document MSWordDocWord.Document.8є9Вq