Department of Art
Parent: UC Irvine
eScholarship stats: History by Item for December, 2024 through March, 2025
| Item | Title | Total requests | 2025-03 | 2025-02 | 2025-01 | 2024-12 |
|---|---|---|---|---|---|---|
| 3s7118mr | The potential of dance as embodied learning | 199 | 70 | 46 | 46 | 37 |
| 3j9916pw | Taking Up the Bodies and Bringing Forth a World: Lecoq's Actor Training and Enactivism | 106 | 23 | 28 | 25 | 30 |
| 6qs682kw | Thinking with the Dancing Brain: Embodying Neuroscience, Abstract | 86 | 27 | 16 | 26 | 17 |
| 0142h57x | Studied Sentiments: A Look at Jennifer Doyle's Hold it Against Me: Difficulty and Emotion in Contemporary Art | 69 | 7 | 21 | 20 | 21 |
| 09d8c49k | Notes on Art and Transcendance | 69 | 14 | 13 | 23 | 19 |
| 5dq3z200 | Neuroscience of Rhetoric and Poetry, Abstract | 67 | 15 | 15 | 17 | 20 |
| 7xq2t8bh | 40 Volume | 52 | 13 | 13 | 15 | 11 |
| 6w42d6p2 | FCJ-132 Towards a Performative Aesthetics of Interactivity | 49 | 11 | 15 | 15 | 8 |
| 96q1h7xz | Painting is a whale | 49 | 16 | 13 | 10 | 10 |
| 3z93s2xc | And You Are the Wound | 47 | 7 | 6 | 9 | 25 |
| 0qr0z45g | Music Emergent: Autopoiesis and Connected Worlds | 46 | 12 | 13 | 11 | 10 |
| 5p60z4ps | Aesthetics of Adaptive Behaviors in Agent-based Art | 45 | 8 | 23 | 9 | 5 |
| 31g4p0dn | Musical Worlds and the Extended Mind | 42 | 9 | 13 | 10 | 10 |
| 8680g0tb | To Talk of Many Things, Of Stories, Ships and String, of Connections, Collaborations, Knowledges and Kin: Prehistoric Seafaring and Embodied Cognition | 42 | 16 | 10 | 12 | 4 |
| 9638m2nx | In Conversation with Fred Moten | 38 | 9 | 12 | 7 | 10 |
| 1ds0r585 | De-Anthropologising the Human and its Impact on Racism: A Third World Perspective | 37 | 3 | 11 | 13 | 10 |
| 0qj66829 | Editor's Note | 35 | 5 | 4 | 7 | 19 |
| 81w0g89c | Pedagogia del corpo-Embodied Pedagogy: An Italian perspective | 35 | 14 | 7 | 10 | 4 |
| 6m10z8c8 | Mosh Phenomenology | 34 | 11 | 7 | 14 | 2 |
| 9d18w5dr | An Introduction to Radical Embodied Cognitive Neuroscience | 34 | 4 | 9 | 8 | 13 |
| 9qk5765m | Dress, Score, Tether | 34 | 5 | 7 | 10 | 12 |
| 78286968 | Phenomenality, Narrativity, Tulpamancy; Experience Without Subjects?, Abstract | 33 | 8 | 6 | 11 | 8 |
| 90m0g1s1 | Cyclops and Slashes | 33 | 8 | 4 | 8 | 13 |
| 3wf8g2bt | bill of rights for bodies when the are born on planet earth | 32 | 8 | 7 | 7 | 10 |
| 84w6d37j | Time is of the essence | 31 | 11 | 9 | 7 | 4 |
| 36b624tw | In Conversation with Alan Gilbert | 30 | 6 | 5 | 8 | 11 |
| 24n07548 | A path from Irvine: Theatrical and anthropological explorations of self-knowledge | 29 | 12 | 7 | 5 | 5 |
| 4183z46p | Embodied Reflection | 29 | 8 | 10 | 7 | 4 |
| 5p45g68p | Perceptual Learning and the Emergence of Performer-Instrument Interactions with Digital Music Systems | 29 | 7 | 7 | 6 | 9 |
| 30h4m2mp | Empathy and groove in musical movement | 28 | 12 | 8 | 3 | 5 |
| 8b8351vx | Joint improvisation as interaction ritual, Abstract | 28 | 7 | 7 | 7 | 7 |
| 06k3f9gh | Physical sketching, abstract movements and creative processes - the promise of updating the body schema with haptics, Abstract | 27 | 10 | 10 | 4 | 3 |
| 5zq0v7sg | Polymeters, Body, and Mind: One Musician's Creative Experiments with (Dis)embodied Rhythm | 27 | 7 | 6 | 10 | 4 |
| 63c7w29v | Taxi Ride to Gauguin: An Interview with Amy Sillman & Nicole Eisenman | 27 | 12 | 7 | 1 | 7 |
| 0gr297z0 | Learning with the body: investigating the link between musical interaction and the acquisition of musical knowledge and skills, Abstract | 26 | 8 | 6 | 6 | 6 |
| 53g1153x | Multisensorial experiences and embodied knowledge of professional dancers in ballet practices | 26 | 8 | 5 | 8 | 5 |
| 5pq1d76d | The affordances of inscribed mediations: Troubling the subject/object dichotomy in knowledge production | 26 | 8 | 7 | 6 | 5 |
| 9gp8s1cn | Dear Camilla (On 54 Bones Gleaning the Storm) | 26 | 5 | 7 | 6 | 8 |
| 9p66b2bj | Sounds from the Electrified Human Body: Reconfigurations of Embodied and Encultured Knowledge from the Development of Electrosomatophones | 26 | 3 | 5 | 11 | 7 |
| 338644bd | Embodied dreaming and improvisation in public and private places: contribution of neurophenomenology and art practice to subjectivity research, Abstract | 25 | 6 | 9 | 6 | 4 |
| 5dz7g3vm | Embodied Perception in Somatic Sound, Abstract | 24 | 8 | 6 | 9 | 1 |
| 8dd5979n | Joint improvisation in the arts practices: Entrainment, engagement, and expert skill | 24 | 6 | 7 | 6 | 5 |
| 0wx9p4rw | Art as Embodied Evolution, Abstract | 23 | 8 | 3 | 6 | 6 |
| 7nn1251d | The Embodied Musician: Creating the Foundation for Interpretation and Movement | 22 | 4 | 8 | 9 | 1 |
| 9s9077ng | BEHAVIORAL OBJECTS: A New Paradigm for Art and Design?, Abstract | 22 | 10 | 6 | 2 | 4 |
| 38z6g0ms | Critical Unmaking: Divination, the Algorithm, and the Practice of Automatic Writing, Abstract | 21 | 8 | 9 | 2 | 2 |
| 0g42b9bq | Interdisciplinary Approaches to Interaction, Abstract | 20 | 11 | 5 | 4 | |
| 7960z5wx | Using theatre and art-based pedagogy to achieve the practices of science in the student body, Abstract | 19 | 5 | 6 | 5 | 3 |
| 8x1240m5 | 'Feeling at one': Distribution of minds, bodies and beats in dance music, Abstract | 19 | 6 | 7 | 1 | 5 |
| 91g306ds | Untying the Knot of Dance Movement Expertise: An Enactive Approach | 19 | 3 | 5 | 7 | 4 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.