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Body of Knowledge: Art and Embodied Cognition

Deakin University
27-29 June 2019


Deakin University is pleased to host the second international Body of Knowledge: Art and Embodied
Cognition conference (BOK19), focusing on the intersections of art and science, to foster
conversations that increase the potential for knowledge transfer and celebrate diverse forms of
embodied expertise.

BoK2019 will continue to pursue the goals initiated at BoK2016, bringing together interdisciplinary
researcher-practitioners including cognitive scientists, neuroscientists, philosophers of mind,
physiologists, psychologists, anthropologists, computer scientists, artists and designers to explore a
range of emerging theories of cognition including enactive approaches, embodied and social
cognition. The first conference - BoK2016 - sought to “develop new discourses around arts practices
which acknowledge the cognitive integration of mind, body and world”. For BoK2019, in addition to
this, there will be a distinct focus on how the arts may contribute to the research perspectives from
contemporary cognitive neuroscience and philosophy of mind. To that end, the conference seeks to
generate questions that explore the dynamic between an organism and its surroundings, for
example by asking “How does art shift the way knowledge and thinking processes are acquired,
extended and distributed?”

The themes for 2019 have been expanded to include cultures and communities of practice that offer
a range of perspectives on diversity. The aim is to encourage the discussion of art as a process of
social cognition and address the gap between descriptions of embodied cognition and the co-
construction of lived experience.

Alongside the more conventional paper and poster sessions, the conference includes three other
modes of presentation: performative presentations, participatory sessions and peripatetic modes.
Standard lecture spaces as well as dance studios and theatre spaces will be utilised. The peripatetic
presentation will take place throughout the sites of the campus and conducted while walking.

The conference is co-sponsored by

The School of Communication and Creative Arts;
The Science and Society Network (Alfred Deakin Institute;
The School of Health and Social Development; Disability, Inclusion & Advocacy at Deakin and;
The Senselab (Concordia University, Montreal).
Wi-Fi at Deakin
1. Open the wi-fi settings on your device and click on the Guest WiFi Deakin network.
2. Open your web browser, you it will be redirected to the guest login page.
3. Select Create account.
4. Complete the fields with your details.
5. Select Register.

Engage with the conference on Twitter

Official Twitter account: @BoK2019
And/or or use the Hashtag: #BoK19

Lunch, morning and afternoon tea will be served at the SAGE restaurant in Building HD, Level 2
Central Precinct.

Keynote and presentation locations

Keynotes will take place in Lecture theatre 12 (X2.05), Building X, Room X2.05.
Presentations will take place in building P, levels one and two, Rooms P1.28, P1.29, P1.19, and


Patricia CAIN

‘How do I know what I think until I see what I say?’

(The otherwise invisible into visibility)

‘What I am trying to say is that in fact, what visual artists know and do and show is closer to the
heart of what visual perception is…
…That fundamental act of perception is precisely that drawing out into the visible, something that
wasn’t there as visible previously. Thus, the great genius of being alive, of having a brain, is to
actually bring forth that reality.’ Francesco Varela speaking at the ‘Art meets Science and Spirituality
in a Changing Economy’ conference in 1990 (Wijers, 1990:130)

My working knowledge of embodied or ‘enactive’ art practice makes me a practitioner whose

theorising is embedded in the experience of making, and my commitment to practice involves
creating expansion through self-growth. Amongst the complexity of what I produce and the
experiential installations I make, the consistent circular element of my focus, is awareness of making
(my) self, and how I do this.

My presentation is both a conversation about becoming part of what I know in embodied practice,
and a self-curated ‘Thinking Space’ installation, the narrative of which informs
• Movement/relationality between internal/external
• Making visible the narrative of self-contextualisation
• Connectivity for neurodiversity - connecting with others who think differently
• The role of research in-forming embodied practice

BIO: Patricia Cain is an artist and visual scholar who lives and works in Scotland. Her book Drawing:
The Enactive Evolution of the Practitioner (2010) redefines drawing as an enactive phenomenon and
is a first-person account of the development of a practice-led methodology to access lived
experience of the creative mind. Fusing art practice and cognition, she is interested in accessing
hidden aspects of thinking - such as creativity, experiential learning, spiritual growth. Her practice
gets its uniqueness from her particular multi-layered thinking style which is focused, complex and
visual. She makes thinking processes and experience visible as the artwork, through mapping, digital
modelling, narrating and curating studio work - shifting importance away from ‘artefact’ to
‘development of artist’. Since completing her practice-led PHD at Glasgow School of Art in 2008, she
has focused on self-curating multi-media exhibitions as experiential installations, which allows her to
create layers of points of access to the complex network that emerges for an audience: the artwork
is the artist-led narrative and interpretation and connects with others to reveal a more fundamental
experience. To view her ground-breaking solo exhibition Drawing (on) Riverside at the Kelvingrove
Art Gallery and Museum (2011) see
Patricia’s current project Making Autistic Thinking Visible explores how autistic thinking and the
development of autistic identity (Self) can be made visible. Her interest is in evolving autistic-led
creative research methodologies that can reveal the nature of neuro-diverse thinking styles.



Movement, Multiplicity, and Monuments: Narratives of Embodied Orientation and Collaboration

from Prehistory to the Present

The term Body of Knowledge has a double meaning implying a unified assemblage of knowledge as
well as embodied cognition. But knowledge is not naturally unified, as was apparent in the first
‘Body of Knowledge’ conference where the internalist neurosciences were clearly divided from the
externalist performing arts. Assemblage across such divides takes embodied, collaborative social and
technological action. The paper argues for that to happen the dimensions of what Hutchins has
called a ‘cognitive ecosystem’ need to be extended to include a complex multiplicity of culture,
history, and exchange, and emphasises the central importance of narrative and movement,
multiplicity and orientation.

Building on the talk I gave at BoK16 the paper weaves together narratives of movement, multiplicity,
collaboration and cognition in recent reticulated accounts of how hominims moved out of Africa;
how we can now understand heterogeneous cartographies in the chart drawn for Captain Cook by
Tupaia the great Polynesian navigator; how social collaboration has emerged in monument building;
how narrative links navigation in topographical and conceptual space.

BIO: David Turnbull / research fellow at Deakin in CES in ADI. Prof Turnbull has written on a wide
range of social and cultural issues from the point of view of Anthropological inquiry through the lens
of movement which involve Socio-cognitive Technologies of Human Movement, Knowledge
Assemblage. These approaches impact upon the understanding of and Approach to for example,
wayfinding and emergent mapping through Performativity, Hodology, Distributed Knowledge in
Complex Adaptive Systems. Further, these studies open discussions on Futures for Indigenous
Knowledges, Boundary-Crossings, Cultural Encounters and Knowledge Spaces in Early Australia, and
critical issues of Land claims and terra nullius in relation to Western Desert Land Claims, The
Tordesillas Line and The West Australian Border and Narrative Traditions of Space, Time and Trust.

Professor of Art and Performance, Deakin University

Natural processes of knowing from an Australian Aboriginal perspective.

The interplay of our natural human bodily senses as a form of knowing between art and science
offers an alternative mode of thinking. Ancient Aboriginal theories consist of 120,000 years of
experimental practice and lived experiences. "Ways of Knowing" in epistemological terms is rooted
in localised culture that reflects past, present and future considerations of cognitive embodied
thinking. Such embodied knowing considers holistic, evolving and adaptive processes based on the
interconnectedness between the social, spiritual, cultural and natural environments through deep
analytical concentrations of how humans cohabitate with the environment. By demonstrating
aspects of Aboriginal philosophies associated with the seven human senses, as another way of
knowing, artists and scientists alike may re- think their style of thinking to grasp a different lens and
re-connection with self and the natural environment.

BIO: Professor Liz Cameron is associated with the Dharug Aboriginal Nation, located Hawkesbury
River area in NSW. Liz commenced her early career in nursing and later completed a Diploma in Fine
Arts, Post Graduate studies in Indigenous Social Health, and a PhD in Indigenous Philosophies. In
2010, Liz was nominated and awarded the National Indigenous Education Ambassador of Australia;
2012 presented in Top Ten Women’s researchers at Macquarie University and 2013 awarded the
National Indigenous staff scholarship awards.

Liz’s research interests include Indigenous land and sea management (Caring for Country), creativity
within cultural form and function, (traditional Aboriginal healing practices), Indigenous health
(preventative social/emotional) and is a practicing artist. Liz has a personal passion in the arts and
sciences involving Aboriginal aspects of optimal internal and external health as a transformative
process through Indigenous ways of knowing. With a drive to create positive change, Liz’s focus is to
share ancient forms of knowing to advance others in bridging the understandings of creativity and
science through the interplay of imagination and intuition within healing



Sensorimotor Adeptness: Making and Embodied Cognition.

The notion that there is a distinction between mind work and body work is deeply entrenched in
Western culture, philosophically rooted in the Cartesian mind/body dualism. The skill/intelligence
distinction is a corollary and is similarly axiomatic and ideological. Being axiomatic it does not
require empirical evidence. It is, like the mind body dualism, a belief. But that belief if false, like so
many of the axiomatic dualisms that structure Western culture. The (false) distinction between skill
and intelligence has directed the development of technologies (and specifically technologies that are
deemed ‘cognitive’), along paths that seek to minimize bodily engagement, dexterity, and physical
effort. Indeed, the rise of ‘information technologies’ – themselves rooted in dualistic beliefs - has
added fuel to this fire. I will argue that this is a dangerous path that has specific deleterious influence
in the arts – the separation between art and artisanality being symptomatic. I intend to illustrate via
case studies, the dimensions of this argument, and offer an approach to sensorimotor intelligences
that is corrective and seeks to mollify the ideology of dualism and provide a more holistic
appreciation of the nature of human cognition-in-the-world.

BIO: Simon Penny, Organiser of Bok2016, has worked in custom interactive installation and robotic
art since the mid 1980s, (after training in sculpture at the South Australian School of Art and Sydney
College of the Arts). As Professor of Art and Robotics at Carnegie Mellon (1993-2000) he engaged VR
and AI, then went on to found the Arts Computation Engineering (ACE) graduate program at the
University of California Irvine, 2001-2012. His longstanding concern for embodied and situated
aspects of aesthetic experience, along with a critical analysis of computer culture has led to a focus
on what of he refers to as postcogntivist approaches to cognition – the focus of his book Making
Sense: Cognition, Computing, Art and Embodiment (MIT press 2017). He was director of A Body of
Knowledge: Embodied Cognition and the Arts conference UCI 2016, and An Ocean of Knowledge:
Pacific Seafaring, Sustainability and Cultural Survival at UCI in 2017. He was Labex International
Professor, University Paris8 and ENSAD in 2014; and was visiting professor in media theory,
Cognitive Systems and Interactive Media masters, University Pompeu Fabra Barcelona, 2006-2013.
More at



Mathematics as Material Play

We are used to thinking of mathematics as a system of symbols and signs, learned through
equations and textbooks. But all around us things are doing mathematics. Corals and nudibranchs
construct in the fibers of their being hyperbolic surfaces that human mathematicians long thought
impossible. Sound waves bouncing around a concert hall enact the mathematics of the Fourier
Transform, which is also realized in the patterns on a holographic plate. Light enacts the
mathematics of wave equations and subatomic particles enact the complex equations of quantum
mechanics. I will argue in this talk that mathematics has both a symbolic and a performative
dimension. In this respect it may be seen as akin to music. While music can be written down in
symbols, most music is unscripted and most musicians throughout history have not written or read
music. Music is quintessentially a performed experience and so also mathematics is performed by
material things. This embodied view has important implications epistemological, but also for how we
go about teaching and relating to mathematics in the social and pedagogical spheres. Hyperbolic
geometry can be taught via crochet; fractals can be taught through origami techniques; and many
other concepts in math can be engaged with through material play practices more commonly
associated with the arts. Material making can thus become a window into the very foundations of
mathematics and offers a resource for rethinking what it means to “know” this too-often feared

BIO: Margaret Wertheim is an internationally noted writer, artist and curator whose work focuses
on relations between science and the wider cultural landscape. The author of six books, including
The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet, and Physics on the
Fringe, a sociological study of outsider science, she has written for the New York Times, Los Angeles
Times, Washington Post, Guardian, Aeon, Cabinet and many others. Wertheim is the founder, with
her twin sister Christine Wertheim, of the Institute For Figuring, a Los Angeles-based practice
devoted to the poetic and aesthetic dimensions of science and mathematics – Through
the IFF, she has created exhibitions for the Hayward Gallery (London), Science Gallery (Dublin), Art
Center College of Design (Pasadena), and Mass MoCA (MA). The Wertheims’ Crochet Coral Reef
project is the largest participatory art & science endeavour in the world and has been shown at the
Andy Warhol Museum (Pittsburgh), Museum of Arts and Design (New York), Deutsches Museum
(Munich), the Smithsonian (Washington D.C.), and elsewhere. Through an unlikely conjunction of
handicraft and geometry, the Crochet Cora Reef offers a window into the foundations of
mathematics while also addressing climate change and our capacity for positive action in the face of
ecological tragedy. Margaret’s Reef TED talk has been viewed more than a million times and
translated into 22 languages.



Provisional Title: Who am I? Dancing our Stories…

Our identity as individuals is shaped by the way we tell and re-tell personal stories within
conversations. We are our stories! Conversational narratives do not exist in isolation but emerge as
we continually reform our understanding and expression of ourselves by engaging in conversational
dance with others. The skills needed to dance (i.e., to take turns in leading and responding; to adapt
and reform our telling; to choose what and how to share experience) begins early as adults scaffold
conversations for young children. This natural development of communication is disrupted when
children have little or no functional speech due to severe speech, physical and/or intellectual
disabilities. Intelligent computing provides potential support for children to experience the flow of the
dance, being caught up in the creative movement of telling and shaping who they are. The inter-
disciplinary and design challenges of harnessing innovative technology that allows individuals to be
active dancers instead of passive observers will form the basis of this keynote presentation.

BIO: Annalu Waller is Professor of Human Communication Technologies. A chartered rehabilitation

engineer, she manages a number of interdisciplinary research projects developing intelligent and
multimodal technologies within the field of Augmentative and Alternative Communication (AAC) and
is director of the Dundee AAC Research Group ( She has worked in the field of
AAC since 1985, having established the first Assistive Technology Assessment Centre in South Africa.
She is passionate about leveraging “intelligent computing” to develop communication support for
individuals with severe language and communication needs. Her primary research areas are human
centred computing, natural language processing, personal narrative and assistive technology. In
particular, she focuses on empowering end users, specifically disabled adults and children, by
involving them in the design and use of AAC technology. Her recent research has used natural
language generation and sensor-based data-to-text technology to automatically generate jokes and
narratives to support language acquisition and communication development for nonspeaking
children. She co-directs two unique interdisciplinary MSc degree programmes: in AAC with
Psychology; and in the Design of Healthcare and Assistive Technologies with Biomedical Engineering
- both at Dundee. She has spearheaded the integration of AAC into undergraduate and postgraduate
teaching in computing, education, medicine and dentistry. She is on the editorial boards of several
academic journals and sits on the boards of a number of national and international organisations
representing disabled people. She was awarded an OBE in the 2016 New Year’s Honours List for
services to people with Complex Communication Needs and is an Honorary Fellow of the Royal
College of Speech and Language Therapists.


How moving is sometimes thinking

I’ll consider different types of movement that either contribute to thinking or can be considered a
form of thinking. Gesture and sign language are obvious candidates and indeed they have been
considered an instance of extended mind. A more enactive conception, however, is that, as
Merleau-Ponty says of speech, gestures ‘accomplish thought’. I appeal to David McNeill’s conception
of the growth-point to make this argument. I’ll also argue that movement (even whole-body
movement) can scaffold learning and problem solving. This is a form of movement that forms an
enactive metaphor and constitutes an understanding, for example, in science education.
I’ll also consider three forms of movement connected with the performing arts of dancing and
theatrical acting. First, dancing itself has been equated with a form of thinking – a form of “exploring
the world” (Sheets-Johnstone). Michelle Merritt (2013) argues that the dancer does not think first,
and then move, but that “Movement just is thought, and thought, in the case of improvisational
dance, consists in the movement.” Movement in this regard is meaningful and intelligent; it’s a form
of sense-making. Another form of movement that in some sense combines dancing and gesture is
marking, where abbreviated body- and or hand-movements used in rehearsals just are a form of
thinking through a choreographed performance. Finally, I’ll consider the kind of movement that
goes along with blocking in the rehearsal and performance of on-stage acting.
Not all movement is thinking. I conclude with some considerations about movement therapy and
argue for some subtle distinctions between movement and narrative thinking. In some regards a
subject’s movement may allow them to find a new way to think about their life circumstances. But
that movement per se is not necessarily a form of narrative, as some body psychotherapists have

BIO: Shaun Gallagher is the Lillian and Morrie Moss Professor of Excellence at the University of
Memphis, Department of Philosophy. His areas of research include phenomenology and the
cognitive sciences, especially topics related to embodiment, self, agency and intersubjectivity,
hermeneutics, and the philosophy of time. Dr. Gallagher has a secondary research appointment at
the University of Wollongong, Australia, and is Honorary Professor of Health Sciences at the
University of Tromsø, Norway. He has held visiting positions at the Cognition and Brain Sciences
Unit, Cambridge University; the Center for Subjectivity Research, University of Copenhagen; the
Centre de Recherche en Epistémelogie Appliquée (CREA), Paris; the Ecole Normale Supériure, Lyon;
and at the Humboldt University in Berlin. Most recently he was Senior Research Fellow at Keble
College, University of Oxford. Professor Gallagher held the Anneliese Maier Research Award
[Anneliese Maier-Forschungspreis] (2012-18) funded by the Humboldt Fellowship. He is also part of
a research project studying Minds in Skilled Performance with funding from the Australian Research
Council (2017-2020). He was principle investigator on several recent grants, including a European
Commission Marie Curie Actions Grant: TESIS: Towards an Embodied Science of Intersubjectivity
(2011-15), and a Templeton Foundation grant (2011-2013) which funded an empirical and
phenomenological study of astronauts’ experiences during space flight. Gallagher is a founding
editor and a co-editor-in-chief of the journal Phenomenology and the Cognitive Sciences.


Thinking with the Body

What is it to say that cognition is embodied? Does the notion of embodiment change the way we
think about cognition? And conversely, does the conjunction of body and thought change the way we
think about the body?

This paper aims to approach the notion of embodied cognition through two sets of practice –
philosophy and dance. It will canvass two philosophical paradigms, which take a very different view
of the bodily nature of thought. The first view is phenomenological, arising from the work of
Maurice Merleau-Ponty. Merleau-Ponty takes the body as his starting point for phenomenological
investigation, an approach which aims to capture our lived experience. For Merleau-Ponty, the task
of philosophy is to explicate experience. Embodied cognition is a feature of that experience, the
body implicit in our actions, perceptions and thoughts. The second philosophical paradigm rejects
the probity of experience for another mode of thought, located in the relational play of force.
Friedrich Nietzsche favours the body over and against experience. Embodied cognition, in the
Nietzschean account belongs to the body but not the subject of experience. This is evident in
Nietzsche’s claim that there is no doer behind the deed. For Nietzsche, the bodily nature of
cognition – in action – can be thought apart from consciousness, which is no longer the centre of

How do these ways of thinking embodied cognition speak to dance? I want to begin with Yvonne
Rainer’s claim that her work, Trio A, involved a mode of performance which “involves a provisional
or ambiguous self that is at once produced, erased and confounded”. I propose thinking through this
claim about the self in performance. Is there a sense in which the self – the one who thinks – can be
produced, erased and confounded? And if so, what might this suggest to notions of embodied

BIO: Philipa Rothfield is Adjunct Professor in Dance and Philosophy of the Body at the University of
Southern Denmark and Honorary Senior Lecturer at La Trobe University, Australia. She is a
philosopher and occasional dancer. She was a member of the Modern Dance Ensemble (Dir.
Margaret Lasica) and has had intermittent opportunities to work with Russell Dumas (Dir. Dance
Exchange). She is co-author of Practising with Deleuze (2017, Edinburgh University Press), co-editor
of Choreography and Corporeality with Thomas DeFrantz (2016, Palgrave Macmillan) and co-editor
of the Dancehouse Diary. She is Creative Advisor at Dancehouse, co-editor of the Dancehouse Diary,
and co-convener of the Choreography and Corporeality working group (International Federation of
Theatre Research).



Theory and practice of artscience collaborations

Collaboration projects in which artists start to work with scientists and researchers – or with
managers and workers on a production line – are aimed at creating influence on work processes,
outcomes, and learning processes. Although these initiatives as formal programs in organizations go
back more than half a century, there is still a lot to be understood how this cross-disciplinary
collaboration effects knowledge creation and working processes. One way of understanding these
effects is by looking at the collaborations through the social psychological perspectives that are also
employed by organizational research. Embodied cognition, learning processes, sensemaking and
adjustment to the physical and social environment within the organization play a major role there.
Looking at incoming individuals from other disciplines can foster changes and new insights, and
especially the arts are able to create new sensual experiences.

Due to funding reasons, management initiatives or opportunities created within single projects,
these collaborations mainly take place within organizations – scientific organizations, NGOs as well
as corporate organizations. In organizations structures and routines can hinder and leverage
incoming ideas. How to argue for artscience collaboration and deal with these processes on a day-
to-day basis from a managerial perspective is vital to make projects thrive and effective beyond
single initiatives.

In my talk, I will present these two sides of my work to show how these interdisciplinary
collaborations affecting experience and processes of collaborating partners, and how to practically
overcome challenges in organizations in which these collaborations are embedded.

BIO: Claudia Schnugg is researcher and advocate of artscience collaboration, a producer and
curator of residency programs, and has been the catalyst for numerous artscience projects. Most
recently she was the first Creative Director of Science Gallery Venice. Previously she worked as
Assistant Professor at the Johannes Kepler University, and was Visiting Researcher at Copenhagen
Business School, the Art|Sci Center at UCLA, and ESO, Chile. She headed the Ars Electronica
Residency Network 2014-2016. Recent publications include her book: Creating ArtScience
Collaboration – Bringing Value to Organizations (2019, Palgrave Macmillan).


Audit Traces Team: Dita Banjeree, Ashlee Barton, Scott deLahunta, Charlotte Evans, Sarah Neville,
Martin Potter, Aeron Skidmore.

For BoK2019, a small team of researchers under the guidance of Scott deLahunta will be
participating in different parts of the conference. Hosted in the CUBE space, the new
interdisciplinary research laboratory at Deakin, the Audit Traces team will work together in dialogue
with delegates to create a map of where and how various forms of interdisciplinary exchange and
collaboration, implicit and explicit, symmetric and asymmetric, global and local, direct and indirect,
permeate the event. During the final plenary event on the Saturday, the team will share their
discoveries with the conference.

DAY 1 Thursday 27 June From 2:00 – 4:30

Room / Presenter’s Name / Title of presentation
P1.28 / Nick Chilvers / Tina Arena: Queer Ontology and Understanding Collective Histories
P1.28 / Robin Conrad / Speaking Dance: The Gap Between Verbal Language and the Moving Body
P1.28 / Henry Daniel / anthropos
P1.28 / Annie Scott Wilson / A ghost in the machine?
P1.29 / Elizabeth de Roza, Emylia Safian / CASE STUDY: The Phoenix with Seven Tales: a collaborative
trans/disciplinary performance in a community
P1.29 / Shaun McLeod / ‘Facing (m)other’
P1.29 / Mig Dann / The insights of encounter: exploring memory and trauma through the intersection of
creative practice and psychological enquiry
P1.29 / Burrell & Braithwaite / Embodied and Disembodied Present-ness in the Immersive Explorations of
Agatha Gothe-Snape
P.119 / Tess Crane / Making sense of the material mark: Exploring the mechanisms of the art making
experience and its impact on wellbeing and experience
P1.19 / Todd Johnson / Materialist Photography in the Digital Age
P1.19 / Jack Parry / Kjennskap: A study of actants in enactivism
P1.19 / Aaron Hoffman / Final Room: Encountering the body through absence
P2.02 / Hannigan, Ferguson, Tytler & Prain / The role of embodied metaphor in art/science education
P2.02 / Joseph & Smitheram / Performing Embodied Territories of Dress
P2.02 / Ferguson, Lihau Xu, Tytler / The epistemic body as distinct from the cognitive: The role of the
body in students’ multimodal understanding of levers
P2.02 / J. Rosebaum / Hidden Worlds

DAY 2 Friday 28 June from 1:00 – 3:30pm

Room / Presenter Name / Title of presentation
P1.28 / Elly Clarke (#Sergina) - with Bon Mott and Sean Miles / Is My Body Out of Date? The Drag of
Physicality in the Digital Age: Episode 3
P1.28 / Ana Helga Henning / «The compass between us»
P1.28 / Prue Stevenson / “Stim Your Heart Out” - “Syndrome Rebel”
P1.28 / Vahri McKenzie / Narrowcast: the wafer-thin version
P1.29 / Sally McLaughlin / Towards a peeling away of things, zones, and surfaces
P1.29 / Olivia Millard / The uncovering of the body’s experience in the present of dancing
P1.29 / Gary Levy / Artful Attunement: Alexander Technique as Embodied Pedagogy
P1.29 / Ceri Hann / Wear and Tear
P1.19 / Fleur Summers / Making Sculpture in the Dark: Touch and the Embodied Studio
P1.19 / Alyssa Choat / Performance and New Materialism: Towards an expanded notion of material
agency through creative practice
P1.19 / Ilona Jetmar / Objects of Diaspora: Contemporary Art Practice and Cultural Heritage
P1.19 / Ashlee Barton / Structured Dance Practice: noticing the present through repetition
P2.02 / Jacqueline Drinkall / Fracking brain-body-world continuum and minerals of materialist-
P2.02 / Chapman, Ednie-Brown, George / Full Tilt: architectural enrichment in Claude Parent’s Living
P2.02 / Ednie-Brown, Chapman, George / Architectural 'Aesthetic Incunabula': Empathic Drawing as a
movement toward Environmental Enrichment
P2.02 / Susanne Thurow / Digital Technologies as Conduit for the Communication of Indigenous Australian
P2.02 / Richard Helmer / Performance: Linking Art and Engineering to Advance Bodily Knowledge,
Enhance Performance, and Share Skill
P bldg. foyer / Scott Andrew Elliott / Embodied Aporia: exploring the potentials for posing questions
directly to the body
P bldg. foyer / Bartier, Mathison & Gardner / Waiting Time

DAY 3 Saturday 29 June from 1:00 – 3:30pm

Presenter Name / Title of presentation / Room
P128 / Naohiko Mimura / Arakawa and Gins Now: Philosophy and Creativity, Part 1
P1.28 / Hiroki Komuro / Arakawa and Gins Now: Philosophy and Creativity, Part 2.
P1.28 / Takeshi Kadobayashi / Arakawa and Gins Now: Philosophy and Creativity, Part 3.
P1.28 / Mariko Kida / Arakawa and Gins Now: Philosophy and Creativity, Part 4.
P1.28 / Alice Cummins / of the body
P1.29 / Chris Cottrell / Gentle House: prototyping spatial designs for neurodiversity
P1.29 / Rea Dennis / Design, Movement, Cognition: Somatic Practices and Contemporary life
P1.29 / Lucía Piquero / Sound, Silence, and Embodiment: Experiences of Emotion in
Contemporary Theatre Dance
P1.29 / Michael Golden / Musicking as Ecological Behaviour: An Integrated “4E” View
P1.19 / Maiya Murphy / Framing practice-as-research in performance as enactive research into embodied
P1.19 / Maurizio Toscano / Science and the paths to human perfectibility
P1.19 / Nancy Mauro-Flude / Embodiment and the Networked Assemblage in Twenty-first Century
P1.19 / Mandy Stefanakis / Revelations of Composer Selfhood
P2.02 / Joey Soh / Light(ł) Through Medium(m)
P2.02 / Joey Tharupathi Munasinghe / Shifting Identities: The Corpoeal Simulation and Trans-
contextualization in Sri Lankan Low-Country Drumming
P2.02 / Robin Dixon / La maschera di Pantalone: Mask as cognitive artefact in the commedia dell’arte
P2.02 / Simon Grennan / Making sense of landscape: integrating neuroscientific perspectives.

Download Full Abstracts on BoK website “program page”:
Special Thanks to co-sponsors:

The conference is co-sponsored by

The School of Communication and Creative Arts;
The Science and Society Network (Alfred Deakin Institute;
The School of Health and Social Development; Disability, Inclusion & Advocacy at Deakin;
The Senselab (Concordia University, Montreal).

The conference committee

Jondi Keane
Rea Dennis
Scott deLahunta
Emma Whatman

Designer of Conference collateral

Angela Rivans
Meghan Kelly

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