Department of Art
Parent: UC Irvine
eScholarship stats: History by Item for September through December, 2024
| Item | Title | Total requests | 2024-12 | 2024-11 | 2024-10 | 2024-09 |
|---|---|---|---|---|---|---|
| 3s7118mr | The potential of dance as embodied learning | 151 | 37 | 45 | 37 | 32 |
| 6qs682kw | Thinking with the Dancing Brain: Embodying Neuroscience, Abstract | 119 | 17 | 40 | 25 | 37 |
| 3j9916pw | Taking Up the Bodies and Bringing Forth a World: Lecoq's Actor Training and Enactivism | 107 | 30 | 24 | 28 | 25 |
| 0142h57x | Studied Sentiments: A Look at Jennifer Doyle's Hold it Against Me: Difficulty and Emotion in Contemporary Art | 71 | 21 | 10 | 26 | 14 |
| 5dq3z200 | Neuroscience of Rhetoric and Poetry, Abstract | 71 | 20 | 11 | 23 | 17 |
| 09d8c49k | Notes on Art and Transcendance | 69 | 19 | 14 | 21 | 15 |
| 6w42d6p2 | FCJ-132 Towards a Performative Aesthetics of Interactivity | 52 | 8 | 16 | 15 | 13 |
| 3z93s2xc | And You Are the Wound | 39 | 25 | 4 | 7 | 3 |
| 0qr0z45g | Music Emergent: Autopoiesis and Connected Worlds | 37 | 10 | 6 | 14 | 7 |
| 63c7w29v | Taxi Ride to Gauguin: An Interview with Amy Sillman & Nicole Eisenman | 37 | 7 | 6 | 19 | 5 |
| 7xq2t8bh | 40 Volume | 37 | 11 | 6 | 13 | 7 |
| 9d18w5dr | An Introduction to Radical Embodied Cognitive Neuroscience | 34 | 13 | 8 | 9 | 4 |
| 31g4p0dn | Musical Worlds and the Extended Mind | 33 | 10 | 5 | 12 | 6 |
| 0qj66829 | Editor's Note | 29 | 19 | 2 | 7 | 1 |
| 5p45g68p | Perceptual Learning and the Emergence of Performer-Instrument Interactions with Digital Music Systems | 28 | 9 | 5 | 10 | 4 |
| 8dd5979n | Joint improvisation in the arts practices: Entrainment, engagement, and expert skill | 28 | 5 | 11 | 9 | 3 |
| 53g1153x | Multisensorial experiences and embodied knowledge of professional dancers in ballet practices | 27 | 5 | 3 | 15 | 4 |
| 8680g0tb | To Talk of Many Things, Of Stories, Ships and String, of Connections, Collaborations, Knowledges and Kin: Prehistoric Seafaring and Embodied Cognition | 26 | 4 | 5 | 11 | 6 |
| 96q1h7xz | Painting is a whale | 26 | 10 | 5 | 7 | 4 |
| 9638m2nx | In Conversation with Fred Moten | 25 | 10 | 6 | 7 | 2 |
| 1ds0r585 | De-Anthropologising the Human and its Impact on Racism: A Third World Perspective | 24 | 10 | 6 | 7 | 1 |
| 5p60z4ps | Aesthetics of Adaptive Behaviors in Agent-based Art | 24 | 5 | 5 | 9 | 5 |
| 3wf8g2bt | bill of rights for bodies when the are born on planet earth | 23 | 10 | 3 | 9 | 1 |
| 7548b88w | Sacred Reptiles and Native Worldview: Enactive Aesthetics in Ancient Mesoamerica | 22 | 2 | 3 | 13 | 4 |
| 78286968 | Phenomenality, Narrativity, Tulpamancy; Experience Without Subjects?, Abstract | 22 | 8 | 4 | 7 | 3 |
| 81w0g89c | Pedagogia del corpo-Embodied Pedagogy: An Italian perspective | 21 | 4 | 7 | 6 | 4 |
| 90m0g1s1 | Cyclops and Slashes | 21 | 13 | 2 | 6 | |
| 9qk5765m | Dress, Score, Tether | 20 | 12 | 1 | 7 | |
| 0wx9p4rw | Art as Embodied Evolution, Abstract | 19 | 6 | 7 | 4 | 2 |
| 30h4m2mp | Empathy and groove in musical movement | 19 | 5 | 3 | 9 | 2 |
| 36b624tw | In Conversation with Alan Gilbert | 19 | 11 | 1 | 6 | 1 |
| 5n91f2cg | The Network and Dance, or a cognitive artifact embodied by a situated cognition | 18 | 2 | 10 | 6 | |
| 8b8351vx | Joint improvisation as interaction ritual, Abstract | 18 | 7 | 5 | 5 | 1 |
| 2xq2r74j | John Locke's Hands: The Tools of Embodiment in <em>An Essay Concerning Human Understanding</em> | 17 | 1 | 4 | 9 | 3 |
| 5pq1d76d | The affordances of inscribed mediations: Troubling the subject/object dichotomy in knowledge production | 17 | 5 | 4 | 6 | 2 |
| 9gp8s1cn | Dear Camilla (On 54 Bones Gleaning the Storm) | 17 | 8 | 2 | 5 | 2 |
| 9p66b2bj | Sounds from the Electrified Human Body: Reconfigurations of Embodied and Encultured Knowledge from the Development of Electrosomatophones | 17 | 7 | 1 | 9 | |
| 182756v1 | Acting as Participatory Sense-Making | 16 | 4 | 10 | 2 | |
| 5dz7g3vm | Embodied Perception in Somatic Sound, Abstract | 16 | 1 | 6 | 6 | 3 |
| 91z955mk | Neuronal Post-Structuralism: A Humanist's Perspective on the Mathematics of the Construction of Memory | 16 | 2 | 3 | 8 | 3 |
| 0gr297z0 | Learning with the body: investigating the link between musical interaction and the acquisition of musical knowledge and skills, Abstract | 15 | 6 | 2 | 7 | |
| 2q45763f | The concept of joint body schema in educational practices in the performing arts, Abstract | 15 | 2 | 4 | 7 | 2 |
| 338644bd | Embodied dreaming and improvisation in public and private places: contribution of neurophenomenology and art practice to subjectivity research, Abstract | 15 | 4 | 5 | 6 | |
| 4183z46p | Embodied Reflection | 15 | 4 | 5 | 6 | |
| 5zq0v7sg | Polymeters, Body, and Mind: One Musician's Creative Experiments with (Dis)embodied Rhythm | 15 | 4 | 1 | 7 | 3 |
| 6m10z8c8 | Mosh Phenomenology | 15 | 2 | 4 | 7 | 2 |
| 84w6d37j | Time is of the essence | 15 | 4 | 2 | 6 | 3 |
| 3pj432d4 | Hand Scroll and the Seeing: An Embodied Analysis of Chinese Traditional Painting, Abstract | 14 | 2 | 3 | 8 | 1 |
| 8x1240m5 | 'Feeling at one': Distribution of minds, bodies and beats in dance music, Abstract | 14 | 5 | 5 | 4 | |
| 91g306ds | Untying the Knot of Dance Movement Expertise: An Enactive Approach | 14 | 4 | 4 | 5 | 1 |
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