Embodied knowledge

Embodied knowledge situates intellectual and theoretical insights within the realm of the material world. Embodied knowledge is sensory; it highlights smell, touch, and taste as well as more commonly noted sights and sounds. Knowledge grounded in bodily experience encompasses uncertainty, ambiguity, and messiness in everyday life, eschewing sanitized detached measurement of discrete variables. Such an epistemology, or way of knowing, resists the Cartesian mind–body split that underlies Enlightenment philosophy and its persistent remnants, including the scientific method and the glorification of objectivity. Embodied knowledge is inherently and unapologetically subjective, celebrating—rather than glossing over —the complexities of knowledge production. Fieldwork, interviewing, writing, and other qualitative methods involve embodied practices performed by actors occupying specific standpoints or positions within cultures. The researcher\u27s body—where it is positioned, what it looks like, what social groups or classifications it is perceived as belonging to—matters deeply in knowledge formation

Using the Asymptotically Ideal Model to estimate the impact of knowledge on labour productivity: An application to Taiwan in the 1990s.

This paper examines the impact of embodied and disembodied knowledge on labour productivity in Taiwan’s manufacturing industry, using the Asymptotically Ideal Model. The model is estimated on a panel of 27,754 firms observed from 1992 to 1995, using three estimations procedures: fixed-effect regression, random-effect GLS, and Hausman-Taylor estimation. Our findings show that, in traditional industries, labour productivity is mostly driven by embodied knowledge, whereas in high-tech industries, labour productivity depends on both embodied and disembodied knowledge. The latter result may be the consequence of the Industrial Upgrading Statute implemented in Taiwan after 1991.Asymptotically Ideal Model; Disembodied Knowledge; Embodied Knowledge; Labour Productivity; Newly Industrialized Countries.

Embodied ways of knowing.

In this article I present an argument for `embodied ways of knowing' as an alternative epistemological strategy, drawing on feminist research and embodied experience. To present my argument, I begin by considering a number of problematic dualisms that are central to Western knowledge, such as the separation between mind and body and between knowledge and experience. In critique of mind/body dualism, feminists and phenomenologists claimed that Western understandings were based on a profound ignorance about and fear of the body. Mind/body dualism needed to be challenged and articulated differently, potentially through valuing and understanding `embodiment'. In critique of the knowledge/experience dualism, feminists and phenomenologists have suggested that `knowing' could be based on lived experience. From lived experience, knowledge could be constructed by individuals and communities, rather than being universal and resulting strictly from rational argument. Research on women's ways of knowing and on movement experience provided valuable insights into alternative ways of knowing. Just as lived experience and movement experience could be ways of knowing, I argue that `embodied ways of knowing' could also contribute specifically to knowledge. The relevance of understanding `embodied ways of knowing' for those involved in education and movement studies may be the further appreciation, development and advocacy for the role of movement experience in education

Embodied engagement in arts research

The focus of this paper is to argue the case for embodied ways of knowing in arts research. Recognition of embodied ways of knowing and embodied research has been relatively recent. For too long, arts research had been marginalized in academia, particularly performing arts, due in part to the somatophobia of Western academic cultures. While grounded in dance research myself, I argue that embodied engagement is crucial for performing arts and arts research in general. It is through rigorous and reflective practice that theoretical knowledges and lived experiences can be embodied, made meaningful, and thus contribute to the generation of new understandings. I contend that such embodied knowledge is then available to artists and researchers for subsequent expression and aesthetic communication via a wide range of mediums and interdisciplinary practices. I discuss embodied ways of knowing and suggest some guidelines for undertaking embodied research. I conclude by emphasizing the continuing relevance of performing arts in expressing individual human embodied experience in an increasingly virtual, self-destructive and global world

Embodied cognitive ecosophy: the relationship of mind, body, meaning and ecology

The concept of embodied cognition has had a major impact in a number of disciplines. The extent of its consequences on general knowledge and epistemology are still being explored. Embodied cognition in human geography has its own traditions and discourses but these have become somewhat isolated in the discipline itself. This paper argues that findings in other disciplines are of value in reconceptualising embodied cognition in human geography and this is explored by reconsidering the concept of ecosophy. Criticisms of ecosophy as a theory are considered and recent work in embodied cognition is applied to consider how such criticisms might be addressed. An updated conceptualisation is proposed, the embodied cognitive ecosophy, and three characteristics arising from this criticism and synthesis are presented with a view to inform future discussions of ecosophy and emotional geography

TEST: A Tropic, Embodied, and Situated Theory of Cognition

TEST is a novel taxonomy of knowledge representations based on three distinct hierarchically organized representational features: Tropism, Embodiment, and Situatedness. Tropic representational features reflect constraints of the physical world on the agent’s ability to form, reactivate, and enrich embodied (i.e., resulting from the agent’s bodily constraints) conceptual representations embedded in situated contexts. The proposed hierarchy entails that representations can, in principle, have tropic features without necessarily having situated and/or embodied features. On the other hand, representations that are situated and/or embodied are likely to be simultaneously tropic. Hence while we propose tropism as the most general term, the hierarchical relationship between embodiment and situatedness is more on a par, such that the dominance of one component over the other relies on the distinction between offline storage vs. online generation as well as on representation-specific properties

Negotiating cultural identity through the arts: Fitting in, third space and cultural memory

The article examines ways in which arts-based educational approaches were applied to a group of African descendant youth in Western Australia, as a way of understanding challenges to their bicultural socialization and means to developing their bicultural competence. Drawing on African cultural memory as a cultural resource enabled participants to discover the relevance of African cultural memory and embodied knowledge to their bicultural socialization and bicultural competence. The article challenges the argument that successful integration into dominant culture is only possible when migrants remain focused on acquisition of dominant cultural values – ‘Fitting in’. The African Cultural Memory Youth Arts Festival (ACMYAF) offered an alternative conception of successive integration as a process inclusive of creative appropriation and revaluation of ancestral culture through cultural memory. The festival became a third space through which the participants explored embodied knowledge and African cultural memory towards a positive self-concept and bicultural competence

Massimiliano Balduzzi: Research in Physical Training for Performers

This essay begins the process of contextualizing and analyzing Massimiliano Balduzzi’s solo physical training practice by introducing six newly created video documents. It locates Balduzzi’s work in a wider historical and artistic context – touching upon the work of Konstantin Stanislavski, Jerzy Grotowski, and Eugenio Barba, as well as acrobatics, martial arts, and Balinese dance – while arguing that the documented physical training constitutes an original research contribution to the field of embodied technique. The essay has three main purposes: First, to give verbal articulation to some important aspects of Balduzzi’s practice, as he begins to teach more widely in New York City and beyond. Second, to test and develop a theoretical framework that conceives of embodied technique as a field of knowledge in which rigorously framed research can and does give rise to new knowledge in the form of new technique. Third, to explore the epistemological status of multimedia documentation through a focused case study. Each of these goals has the potential to expand and clarify current discussions of actor and performer training, movement analysis and documentation, and practice-as-research

Scope of Practice for Rehabilitation Counseling

[Excerpt] The Scope of Practice Statement identifies knowledge and skills required for the provision of effective rehabilitation counseling services to persons with physical, mental, developmental, cognitive, and emotional disabilities as embodied in the standards of the profession\u27s credentialing organizations

Hammers and blind man’s sticks: re-examining the digital double

This presentation draws on my research in to technological embodiment as part of my PhD studies, which explores a phenomenon called the ‘digital double’ – a manipulable representation of the human body in a variety of performance and new media contexts. My research uses lived experience and autoethnographic writing as a methodology to document and reveal embodied knowledge of the interfaces of body, technology and self when technologically embodied through the digital double. This presentation gives an overview of my research alongside discussion of Me and My Shadow (2012), an interactive telematic and live motion-capture performance installation by sound and media artist Joseph Hyde. Using extracts from autoethnographic writing about my embodied experience of the installation as an audience member, I illustrate the theoretical and embodied bases of my research. My intention is to highlight flaws in current theorisations of the digital double and technological embodiment in this context, which stem from reliance on Merleau-Pontian philosophy of the body as the basis for the research area, and its inherent ‘somatophobia’ (Barbour, 2005). I argue that, through an embodied research methodology and consideration of somatic philosophy and dance scholarship, a more holistic understanding of technological embodiment can be reached