By Dee Reynolds, Matthew Reason
A key interdisciplinary notion in our figuring out of social interplay throughout artistic and cultural practices, kinesthetic empathy describes the facility to adventure empathy only through watching the hobbies of one other man or woman. Encouraging readers to stay clear of the methodological and disciplinary limitations linked to the humanities and sciences, Kinesthetic Empathy in inventive and Cultural Practices bargains leading edge and significant views on issues starting from artwork to recreation, movie to actual therapy.
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Additional resources for Kinesthetic Empathy in Creative and Cultural Practices
Chicago: Stanford UP. Berrol, C. (2006). ‘Neuroscience Meets Dance/Movement Therapy: Mirror Neurons, the Therapeutic Process and Empathy’. The Arts in Psychotherapy, 33: 302–315. Berthoz, A. (2002). Mind and Motion: The Brain’s Sense of Movement. Cambridge, MA: Harvard University Press. Blume, H. (1998). ‘Neurodiversity’. The Atlantic, 30/09/90. com/magazine/ archive/1998/09/neurodiversity/5909/. Accessed 12 December 2010. Bogdashina, O. (2003). Sensory, Perceptual Issues in Autism and Asperger Syndrome: Different Sensory experiences, Different Perceptual Worlds.
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The process of recall and exploration may be repeated several times in relation to any one metaphor, as metaphors contain complex and multilayered co-constructed meanings; each exploration of the movement metaphor can thus reveal new insights. Verbalisation, like movement metaphor, is also an attempt to symbolise experience, and as such words may remain an inadequate representation of the kinds of knowledge that arise through the moving body. The understanding of another’s spontaneous dance is always only partial and is filtered through the experience of the person who is attuning to this.
Kinesthetic Empathy in Creative and Cultural Practices by Dee Reynolds, Matthew Reason