╨╧рб▒с>■  _a■   ^                                                                                                                                                                                                                                                                                                                                                                                                                                                ье┴%` Ё┐qbjbj"x"x 3@@q      д■■■■■■■4┤llll x шД ~РРРРРkkk       $ hj:) ■ёkkёё) ■■РР█> ▀ ▀ ▀ ёd■Р■Р ▀ ё ▀ ▀ ■■▀ РД P√н/╔lU p▀  T 0Д ▀ д┼ д▀ д■▀ $k▀ Н ЩXkkk) ) ╒ kkkД ёёёёшшшДlшшшl&4■■■■■■     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 Ч 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 Ч space, objects, acoustics, audienceЕ (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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TT░ ╦▄ </З@АЗ@░ %L`gP - T┤5>) п/З@АЗ@5ШL`gpKathleen CoessensH,2,,2C2,'',2'TT* >W п/З@АЗ@* ШL`gP z. T4;▒#"/З@АЗ@; QL`gЁProfessor 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$▒P"/З@АЗ@$ L`gP - TTX$ДХ/З@АЗ@X~L`gP - TTЧл/З@АЗ@ёL`gP - T░}ъ ю/З@АЗ@╫;L`g─Artistic performance, as in dance and music, demands the reH!',2,!!2!N,3,,,'22,2,,,22N2',2,N-22'2,!,TTы } ю/З@АЗ@ы ╫L`gP-!TT }7 ю/З@АЗ@ ╫L`gPe,T╨8 }═ю/З@АЗ@8 ╫L`gxnactment/execution of 3,,N,2,3-,2222! T|Xc║╘/З@АЗ@X╜]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,!'' TPXIЩ ║/З@АЗ@Xг+L`gдexpert habitus, combining embodied schemata,32,!2,22',2N2221,N222,2(,2,N,,TфЩ Iw ║/З@АЗ@Щ гL`gА and artistic expert know,32,!',,32,!222HTTw IЧ ║/З@АЗ@w гL`gP- !TdШ IW║/З@АЗ@Ш гL`gThow.23BTTXIn║/З@АЗ@XгL`gP TЬoIп║/З@АЗ@oг L`ghThe schemata =2,',2,N,, TРX/¤ а/З@АЗ@XЙ6L`g╕structure perception, thought, action and communicatio'!2,2!,2-!,,22223212-,22,22,2NN23,,2Tш■ / а/З@АЗ@■ ЙL`gАn that can be adapted and 22,,,22,,2,2-2,22 T,X цЖ /З@АЗ@Xo %L`gШrecoordinated in specific situations (!,,22!23,,22'2,,!,'2,22'TTц KЖ /З@АЗ@чo L`gP 7dT№K ё Ж /З@АЗ@Ko L`gИ Bourdieu's habitus; the knowIB22!2,3'2,22'2,222HTTё   Ж /З@АЗ@ё o L`gP-6!T╠  )Ж /З@АЗ@ o L`gxhow is the result of x22H'2,!,'22! TtX√ /l /З@АЗ@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 ╪ R /З@АЗ@X; 1L`g░performance act as a situated instance of the perC2,!!2!N,3,,,,,','2,,22',2,,3!2,2,"Tф┘ с б R /З@АЗ@┘ ; L`gАformer's expert habitus. n!3!N,"',32,!2,22'Tмв с ╩R /З@АЗ@в ; L`glIn the artistic 22,,!', T╠X╟ ┴ 8 /З@АЗ@X! @L&" WMFC ╚ ╚L`g╠act/moment of performance four dimensions will be distinguished.,,N2N,22!2,!!3!N,3,,!22!2N,2'22'H3,2'212'2,2TT┬ ╟ я 8 /З@АЗ@┬ ! L`gP S. TtXн └ /З@АЗ@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 TиXУ Н /З@АЗ@Xэ :L`g└expertise, the embodied and cognitive schemata, the explic,32,!',2,,N222,2-22,2122,',3,N,,3,,32,TО У Р/З@АЗ@О э "L`gРit and tacit knowledge the artist ,22,,222H,22,2,-!' TXy&ъ/З@АЗ@X╙KL`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/З@АЗ@'╙L`gP - T$X_B╨/З@АЗ@X╣$L`gФ2) The dynamic dimension is the time2!=2,402,N,2N,2'32'2,N,TTC_c╨/З@АЗ@C╣L`gP-!TРd_ ╨/З@АЗ@d╣ L`gd or process2!2!2,,''TT _5 ╨/З@АЗ@ ╣L`gP-"T06 _:╨/З@АЗ@6 ╣&L`gШdimension of the performance act, the 2N,2'222!2,2,!!2!O,2,,,,2, T░XEЪ ╢/З@АЗ@XЯ;L`g─movement in time: action, expectation, continuity of the unN22,N,22N,,,22,32,,,22,222202!2,22TфЫ EЕ╢/З@АЗ@Ы ЯL`gАfolding practice and time!22213!,,--,22N,TTЖEж╢/З@АЗ@ЖЯL`gP-! T╪X+JЬ/З@АЗ@XЕL`g|boundedness (D. Huron).22222,22,''!HH3!22!TTK+wЬ/З@АЗ@KЕL`gP - ThXЙВ/З@АЗ@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,-, TМXў╡h/З@АЗ@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 T─X▌]N/З@АЗ@X7L`gtcope with the resist,22,H22,!,''TH^▌▐ N/З@АЗ@^7*L`gаance and/or the affordances of the world ,3,,,222!2,-!2!3,2,,'3"2,H2!2TT▐ ▌C N/З@АЗ@▀ 7L`gP dTЇC ▌YN/З@АЗ@C 7L`gД space, objects, acoustics, '2,-,22,,',,22',' T8X├┼4/З@АЗ@X'L`gЬaudience& (Clancey, A. Clark, Gibson). ,22,2,,d!C,2,.*HC,!2H2'22!TT╞├ 4/З@АЗ@╞L`gP K TРXй/З@АЗ@X L`gd4) The self2!=2,',"TTй'/З@АЗ@L`gP-!T,(йР/З@АЗ@(PL`gьreflective embodied dimension relates to the artist him/herself as an embodied !-!,,2,,N222,22N,2'22!,,,(22,,!'2N2,!',!,',2,N222,2 TМXПВ /З@АЗ@Xщ5L`g╕being, coordinating the three other dimensions in re2,21,22!22,312,2!,,22-!2N,2'z&ъ WMFC╚ ╚L22'2!,T8Г Пп/З@АЗ@Г щ'L`gЬlation to his own bodily awareness and ,2222'2H22220-H,",2,'',22 ThXu`ц/З@АЗ@X╧ZL`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,,TTauОц/З@АЗ@a╧L`gP . TИX[■╠/З@АЗ@X╡_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% А6g6`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.√Ё Р@Times New Roman-- g2 oo=gArtistic performance as expert habitus: situated acts of selfe   2 oхg-H72 oъgreflective embodied practicesБ  2 oеg H 2 БКg H%2 ФNgKathleen Coessensi   2 Ф╟g HЕ2 жДQgProfessor Center for Logic and Philosophy of Science, Free University of Brussels       2 жСg H 2 ╣_g H 2 ╦Оg Hd2 ЁО;gArtistic performance, as in dance and music, demands the rel     2 Ёg-H 2 ЁgeH,2 Ёgnactment/execution of  Ч2 _]gpreviously imprinted and embodied expert practices. Such practices can be called an artist's n   L2 :_+gexpert habitus, combining embodied schemata    12 :Зg and artistic expert knowi 2 :$g-H2 :)ghow.  2 :Hg H2 :L gThe schemata   \2 __6gstructure perception, thought, action and communicatio 22 _└gn that can be adapted and C2 Д_%grecoordinated in specific situations  2 ДBgЧH72 ДRg Bourdieu's habitus; the knowБ  2 Дg-H+2 Дghow is the result of  Х2 й_\gconsciously directed and rehearsed practices and skills. I propose to consider the artistic U2 ╬_1gperformance act as a situated instance of the perc  12 ╬Сgformer's expert habitus. k #2 ╬+gIn the artistic k2 є_@gact/moment of performance four dimensions will be distinguished.      2 єg HХ2 _\g1) The background dimension concerns the 'virtually' present capacities: the experience and   b2 =_:gexpertise, the embodied and cognitive schemata, the explic     >2 =╓"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 Ж_$g2) The dynamic dimension is the time     2 ЖPg-H2 ЖV g or process 2 ЖЪg-HD2 Жа&gdimension of the performance act, the   d2 л_;gmovement in time: action, expectation, continuity of the uns    12 л┘gfolding practice and timek  2 лxg-H.2 ╨_gboundedness (D. Huron).   2 ╨g HТ2 ї_Zg3) The situated dimension means that artistic performance happens in an ecological space:     Ы2 _`gevery act is situated. Different environments lead to different expectations. The artist has to    )2 ?_gcope with the resist J2 ?█*gance and/or the affordances of the world    2 ?уgЧH52 ?єg space, objects, acoustics, F2 d_'gaudienceЕ (Clancey, A. Clark, Gibson).      2 deg H 2 Й_ g4) The self  2 Йдg-HГ2 ЙйPgreflective embodied dimension relates to the artist him/herself as an embodied     [2 о_5gbeing, coordinating the three other dimensions in reo F2 ом'glation to his own bodily awareness and   Т2 ╙_Zgperception. The four dimensions are dynamically integrated into the artistic performance.      2 ╙Ыg HЪ2 °__gAspects such as thought in action, anticipation, adjustment, scaffolding and recoordination in  √╝"System-ggffffffffffffeeeeeeeeeeeedddddddddddd■ ╒═╒Ь.УЧ+,∙о0 hpФЬдм ┤╝─╠ ╘ сф┤є╧є┤л├╜m'  Title ■   ■   ■    !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTU■   WXYZ[\]■   ¤   `■   ■   ■                                                                                                                       Root Entry         └F@╢!н/╔bАData              1Table    WordDocument    3SummaryInformation(            `qDocumentSummaryInformation8        VCompObj            q            ■                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           ■       └FMicrosoft Office Word Document MSWordDocWord.Document.8Ї9▓q