Publications

Abstract

Somatic practices frequently use imagery, typically via verbal instructions, to scaffold sensorimotor organization and experience, a phenomenon we term “introjection”. We argue that introjection is an imagery practice in which sensorimotor and conceptual aspects are co-orchestrated, suggesting the necessity of crosstalk between somatics, phenomenology, psychology, embodied-enactive cognition, and linguistic research on embodied simulation. We presently focus on the scarcely addressed details of the process necessary to enact instructions of a literal or metaphoric nature through the body. Based on vignettes from dance, Feldenkrais, and Taichi practice, we describe introjection as a complex form of processual sense-making, in which context-interpretive, mental, attentional and physical sub-processes recursively braid. Our analysis focuses on how mental and body-related processes progressively align, inform and augment each other. This dialectic requires emphasis on the active body, which implies that uni-directional models (concept ⇒ body) are inadequate and should be replaced by interactionist alternatives (concept ⇔ body). Furthermore, we emphasize that both the source image itself and the body are specifically conceptualized for the context through constructive operations, and both evolve through their interplay. At this level introjection employs representational operations that are embedded in enactive dynamics of a fully situated person.

Abstract

This article provides clarification regarding ‘the what’ and ‘the why’ of mental imagery use in dance. It proposes that mental images are invoked across sensory modalities and often combine internal and external perspectives. The content of images ranges from ‘direct’ body oriented simulations along a continuum employing analogous mapping through ‘semi-direct’ literal similarities to abstract metaphors. The reasons for employing imagery are diverse and often overlapping, affecting physical, affective (psychological) and cognitive domains. This paper argues that when dance uses imagery, it is mapping aspects of the world to the body via analogy. Such mapping informs and changes our understanding of both our bodies and the world. In this way, mental imagery use in dance is fundamentally a process of embodied cognition