Folk Physics and Performer Training

April 30th, 2006 Fred McVittie

The first part of this paper will look at a range of training regimes associated with theatrical and public performance forms, paying particular attention to techniques which appear to enhance ‘presence’. Particular attention will be paid to body-based training practices. From this initial research key ideas and terms will be extracted that use metaphors which are drawn from and have accurate meaning in the physical sciences; terms such as energy and focus, and ideas such as ‘being centered’ and ‘extension’.

We will then go on to suggest that these ideas and terms can be seen as defining and articulating the physical laws and properties of a ‘universe’ in which the performance potential of individuals lodged within that universe is optimised. Put another way, the ‘folk physics’ which is routinely used to explain training exercises to students and performers will be examined in detail and general principles extracted.

If time permits we will then outline some practical devising and testing of techniques we have developed which use these coherent general principles as a basis for performer training.

Keywords: Folk Physics, Naive Physics, Performance, Metaphor, Embodiment.

(Time did not actually permit any practical demonstration of these ideas, but I could see some relationship between these ideas and the content of the ‘Details of Excellence’ workshop I went to.)

Posted in Conference Abstract, Metaphor, Naive Physics, Presence, Story, Training | No Comments »

Sport and Spirituality

May 2nd, 2006 Fred McVittie

Abstract:

This review suggests that the concept of spirituality should be considered seriously within sport psychology research and consultancy. Four key areas are addressed: how spirituality may be reconciled into the athlete-centered model; the integration of spirituality and religious observances into mental skills training (MST); the relationship between spirituality and positive psychological states such as flow and peak experiences; and the role of spirituality in counseling. Recent work has acknowledged the importance of spirituality in consultancy work (Ravizza, 2002a) and religious beliefs and rituals for some athletes (Czech & Burke, in press). Despite extensive study in psychology, research of spirituality in sport psychology has been slow to emerge. Some of the reasons for this are discussed and suggestions made in relation to how this important concept can be integrated into research and consultancy work. Future research and theoretical work should focus on both performance enhancement and life-skills development.

WATSON, N. J. & NESTI, M. (2005) The Role of Spitituality is Sport Psychology Consulting: An Analysis adn Integrative Review of Literature. Journal of Applied Sports Psychology, 228 - 239.

Posted in Exercises, Spirituality, Sport, Training | No Comments »

Language and Being: Centred

May 10th, 2006 Fred McVittie

An aim of much artistic, performative practice, as well as spiritual practices which promise ‘enlightenment’, is to go beyond (or before) conceptualisation and fully experience what the senses offer, with minimum filtration and organisation by the rational mind. Artists know this principle in the maxim ‘draw what you see, not what you know’, and in the field of theology, Rahner refers to this as ‘unthematic experience’ and associates it with a non-objective contact with the divine. An important aspect of realising this aim is to fully occupy the space and time that one is in; avoiding distributing one’s consciousness by thinking of the past or the future, or smearing that consciousness across space by imagining oneself to be anywhere else but exactly here, precisely now. The common term for this full occupation of personal space and time is presence, or being centred.

A significant obstacle to overcome in any attempt to be centred is the inevitable decentering of oneself that happens in much language use. We refer to ‘ourselves’, as if those ’selves’ were some object that we possessed and that was in some way outside of us. We nominate ourselves as an object in our sentences, even when we use ‘I’. This usage, and the conception that goes along with it, inevitably places us at a remove from the centre of our own experience. We talk, and think, of ourselves from a position that is eccentric. If our aim is to claim the centre with all of the sensual subjective power that comes with that claim, then we need to watch our language.

The following exercises are highly recommended.

  • Exercise One: Avoid using the following words. I, me, myself.
  • Exercise Two: Shut the fuck up.

Posted in Centre, Enlightenment, Exercises, Performance, Presence, Rahner, Karl, Spirituality, Training | No Comments »

A Folk Physics of Presence

June 15th, 2006 Fred McVittie

Presence is a feature of performance, particularly theatre performance, which is notoriously difficult to define, and appallingly difficult to teach. As a quality it is instantly recognisable, yet seems to be additional to simple technique or skill. In fact presence is what distinguishes an excellent performance from a display of skill. In some ways presence is analogous to the condition in sport of being ‘in the zone’, in which the athlete has an unproblematic sense of mastery, which shows itself as peak performance on the field. It is an article of faith in many sports that at the peak of the profession skills and technique are a necessary but insufficient factor, what wins or loses is the mindset of the athlete on the day. It is the athlete that is in the zone, that is most ‘present’ that wins.

The challenge facing the teaching of presence is to identify the mindset of those who do have presence and reproduce it in a training regime.

Many actor training systems attempt this through physical and mental exercise routines which are intended to have certain specific effects on the actor. Some of these effects are simply physical, the actor becomes more supple, more in control of their posture and gestures etc. In addition, however, some of these training techniques seem to be intended to subtly alter the mindset of the performer, particularly the subjectively experienced relationship of the actor to the wider world in which they feel themselves to be lodged.

The body of knowledge, or ’science’, which articulates this subjective relationship between actor and world is not quite the same as the science of the objectively real world studied by the rational sciences. The physical laws that the actor must internalise (to the point where they become embodied common sense, much as gravity becomes embodied common sense to us all), are more akin to a kind of ‘naive’ or ‘folk physics’.

Posted in Acting, Exercises, Naive Physics, Performance, Presence, Training | No Comments »

Attention Physics

June 19th, 2006 Fred McVittie

Attracting attention is a physical response to an environmental or social situation. In certain situations it is necessary, if not evolutionarily adaptive, to be able to call attention to oneself; when drowning for example, or in an attempt to attract a sexual partner or advertise one’s prowess in a particular field. Whilst this might obviously entail gross motor actions in a deliberate attempt to attract attention (shouting, broad movements etc), it is inevitable that other, more subtle, behaviours also exist for the management of attention. These behaviours include such minimal and largely unconscious proprioceptive actions as eye gaze direction, length of pauses in speech, syncopation of physical and vocal patterns, etc. Given that such fine-grained behaviour is usually beyond the reach of conscious control, it is likely that these are better controlled through the adopting of an overall mental ‘attitude’, and using this attitude or mindset to organise proprioception. The succesful organisation of proprioception around an attitude of attractiveness results in the physical manifestation of ‘presence’.

In order to develop the ability to attract attention in this way, and to develop presence, it may be necessary to learn techniques for the subtle orientation of the physical body such that the necessary attitude is produced. It is likely that such techniques would take the form of holistic exercises intended to allow the embodiment of such an attitude and its realization through the control mechanisms of the proprioceptive senses.

Posted in Attention, Embodiment, Exercises, Presence, Proprioception, Training | No Comments »

Axioms for an Imaginary Science of Performance

June 20th, 2006 Fred McVittie

An analysis of a range of techniques for the training of theatre performers reveals a high level of consistency and coherence in terminology. Although these techniques do not overtly claim to describe a world which differs from that of common sense or rational science, the paradigm and ’science’ of the physical world which is implied through this analysis is distinct in a number of ways. The axioms of an imaginary science of Performance might look something like this:

Space

  • Space is not empty, but consists of an etheric liquid through which objects move and energy is transferred.
  • Space is infinite and extends outward from the body of the performer in all directions.
  • The body of the performer is therefore always at the centre of space.
  • The central position occupied by the performer is also a fulcrum or axis around which the universe (space) is balanced
  • Whilst the space of the universe may move, the centre of the performer is motionless
  • Actions of the performer have an effect on the balance and properties of space.
  • The form of the performer’s body, e.g. its lateral symmetry and horizontal asymmetry, affect the regions of space extended from these areas of the body. The space to the left of the performer is different from the space to the right for example.
  • Part of the skill of optimal performance is the successful management of space.

Energy

  • The performer has access to energy resources which are both physical and psychic.
  • The energy controlled by the performer can affect the consistency and quality of the spatial ether.
  • The energy controlled by the performer can affect objects in space, including other performers or non-performing beings.
  • The energy controlled by the performer can be stored in or emitted from different parts of the performer’s body, or from locations outside of the performer’s body.
  • The quality of the energy used by the performer can be vary in a number of ways; intensity, mood etc.
  • The energy of the performer is a limited resource which can be depleted or replaced.
  • The energy of the performer is part of an energy economy which includes other performers, and the audience.
  • Part of the skill of optimal performance is the successful management of this energy.

Essence

  • The performer has an individual essence, possibly corresponding with a ‘soul’ or ‘purpose’.
  • The essence of the performer is the conduit for energy and the source for the application of will or intention.
  • The essence of the performer is separate from any internal representation they may have of self, body-image, physical image-schema, etc.
  • Part of the skill of optimal performance is the successful management of this essence.

Posted in Essence, Imagination, Metaphor, Performance, Poetics, Science, Theatre, Training | No Comments »

The Body as a Vehicle of Telepresence

June 25th, 2006 Fred McVittie

It has been demonstrated that the sense of being present within a virtually simulated environment, a phenomena usually referred to as telepresence, correlates with the ability to effectively carry out a task in that environment. That is, the more one feels present the better one performs.(1) Given this, it may be useful to consider the unaugmented human body not as integrated with psyche but rather as a vehicle for the psyche to occupy. In this understanding, the psyche becomes ‘telepresent’ through its immersion in the environment and sensorium of the body. A performer working with this conception of the relationship between mind and body should be able to better understand the need for presence, as well as being able to interpret exercises and information for the enhancement of that presence (a term which is often shrouded in mysticism) in terms of an immersive somatosensory experience. The radical Cartesian dualism that this implies is distinctly unfashionable (although it is an axiom of ‘human science’ and apparently a ‘human universal’) but may prove useful in explaining and potentially enhancing the sense of presence which, in theatrical performance contexts, correlates with the carrying out of tasks which increase charisma and the ability to attract attention.


1. Welch, Robert B. - How Can We Determine if the Sense of Presence Affects Task Performance?
Presence, October 1999, Vol. 8, No. 5, Pages 574-577

Posted in Charisma, Dualism, Exercises, Performance, Presence, Telepresence, Training, Welch, Robert B. | No Comments »

Energies of Creativity

July 10th, 2006 Fred McVittie

Highly effective work by coaches Loehr and Schwartz uses the metaphor of energy, and particularly the metaphor of an energy economy, to underpin techniques for the optimisation of performance, particularly in the areas of sport and business. In this work, four different types of energy are identified; physical, emotional, mental, and spiritual. (In this case the term ’spiritual’ is used loosely and may mean ‘intention’ or ‘mission’ or ‘purpose’). This model of different types of energy might also be usefully applied to the creative process, or the performance of creativity.

To engage succesfully/optimally in a creative process the following four energies need to be engaged:

  • Physical - this is a combination of raw physical fitness, in which one is not physically ill, plus having possession of the actual physical skills necessary to carry out a creative act (which includes practical creative skills such as synectics, scamper, triz etc)
  • Emotional - to optimally create one should have enough emotional balance to be able to function, and also be sufficiently ‘in touch’ with one’s emotions to be able to discriminate aesthetically.
  • Mental - one should be in possession of sufficient knowledge about the domain of practice one is operating within, and have knowledge and information about the material and ideas one is using.
  • Spiritual - one should have a reason to do it, even if this reason is a ‘bad’ one such as making money or pleasing people or showing off.

Some more about energies of Creativity

  • More energy does not necessarily mean better art. Aim for enough of each type of energy rather than more than enough.
  • There is a hierarchy of energy (this is important). You have to make sure the physical energy is in place first, then the emotional, then the mental, then the spiritual. If you don’t have the physical energy, nothing happens.

Loehr, J. and Schwartz, T. - The Power of Full Engagement. The Free Press, New York, 2005.

Posted in Energy, Loehr, J. and Schwartz, T., Spirituality, Sport, Training | No Comments »

Theory/Theatre Training

July 15th, 2006 Fred McVittie

One possible source of the sometimes uncomfortable relationship between theory and practice (specifically training for practice) in theatre is that training for practice utilises radically different (and possibly unfashionable) theories. Theory tends to be captivated by what Tooby and Cosmides refer to as the ’standard social science model’, in which the subject/person is a product of culture, with biology and evolutionary history playing little part in the construction of complex cultural behaviour. In this model the subject is constructed, fragmented, decentred, ‘hailed by a plethora of discourses’, mediated, screened out, and misrecognised even to itself. In stark contrast to this, the model of the subject, and their place in world, as implicit in the concepts and language of practical training, is vitalist, centered, dualist, a member of the ‘universal people’ (after D.E. Brown). It is interesting to note that no such disjunction exists in the training and education of athletes, who also require coaching to improve performance

Posted in Brown, D. E., Performance, Sport, Theatre, Theory, Tooby, J. & Cosmides, L., Training, Vitalism | No Comments »

Universal Physics and Body-based Practice

July 19th, 2006 Fred McVittie

A range of body-based (or ‘bodymind’) practices have been developed in a wide range of different cultures which are reputed to improve health, effect healing of psychic or bodily disorders, optimise performance in various tasks, enhance spirituality, etc. These practices include yoga, taichi, reiki, acupuncture, etc. There is a considerable variation in the extent to which these practices use the body: some, yoga for example, require extensive, often arduous body disciplines, whilst others, zen meditation for instance, require very little exertion or ’skill’ at all. All of these practices, however, stress that the body and the mind are not discontinuous, and that these practices are effectively ‘psychophysical’, implementing both mental and corporeal processes inseparably. The apparent differences in levels of exertion or required skill level is therefore not significant, what is important is the beliefs and assumptions about how the psychophysiology which underpins these various practices actually works . It will be argued that common throughout these practices is reference to a set of universal axioms about the physical world, including the central role of the person in that world. These axioms are those of a kind of ‘Universal Physics’; a set of theories about the world held by all human cultures and produced by shared evolutionary history and shared biological incarnation.

Posted in Evolution, Performance, Physics, Training, Universals | No Comments »

Spirituality and Actor Training

August 10th, 2006 Fred McVittie

“This paper intends to show that conservatory theatre teachers and acting teachers in specific are using the techniques and ethos of Taoism, Zen and First Nations spirituality in their studios. I will suggest what they are ‘borrowing’ and why they are doing it, whether they are conscious of this borrowing or not.”

FORSYTHE, J. (2004) Spirituality and Actor Training. Journal of Religion and Theatre, 3, 24 - 36.

Posted in Acting, Exercises, Spirituality, Theatre, Training | No Comments »

Hypnosis and Performer Training

August 18th, 2006 Fred McVittie

This paper will consider the use of Ericksonian Hypnosis techniques and NLP in the training of performers. Performer training is partly a process in which specific overt and transparent physical skills are exchanged; voice projection, the use of the body in particular stage environments, etc. To a greater or lesser extent there may also be training is specific psychophysical techniques; emotional memory, magic if, circles of attention etc. Again these last techniques are transparent and the student is fully aware of what is being taught and the purposes such teaching serves. In addition to these techniques however, I will argue here that there is a level of ‘tuition’ which is inevitably engaged in which is covert, and which the student (and possibly the trainer) has no knowledge of whilst it is taking place. This training constitutes a form of mental ‘reprogramming’ in which the mind set of the student is reorganized. The techniques used in this reprogramming correspond to Ericksonian Hypnosis or NLP, and the purpose of such reprogramming is a change in the belief patterns of the student with a corresponding change in the behaviour of that student.

Posted in Conference Abstract, Language, Performance, Training | No Comments »

Coherent metaphors and Efficacy

September 25th, 2006 Fred McVittie

The effectiveness with which we are able to deal with a situation or problem depends significantly on the the type of consciousness we bring to that situation or problem. Some situations require highly focussed, unselfconscious thought, others require a high level of self-monitoring, etc. In order to gain access to these different cognitive states, and benefit from their application, it is necessary to have a coherent and intelligible ‘map’ of the various states one might put oneself in, and how these states relate to each other and to external features of the world at large. Given the abstract nature of cognition and consciousness it is inevitable that such ‘maps’ are metaphorical (as indeed is this description, in its use of the term ‘maps’). One such ‘map’ of the various states of consciousness utilises the metaphor of space.

An important aspect of this metaphorical mapping is that the users of the metaphor function more effectively, i.e. are able to enter subtly different states of consciousness more readily, when they are presented with the entire map outlining all of the states, not when they are introduced to it piecemeal. It is more effective also when a consistent metaphor is used throughout. For example, to talk about one form of consciousness as if it were a substance (e.g. a flowing liquid) and another as a spatial location (e.g. being ‘centered’), clearly mixes the metaphors and does not provide a single coherent structure for the various concepts to inhabit.

Posted in Consciousness, Consilience, Metaphor, Performance, Space, Training | No Comments »

Metaphors for Change

September 30th, 2006 Fred McVittie

The particular metaphor one chooses to understand one’s own mind affects one’s phenomenological experience of that mind, and of aspects of the wider world. In other words, how you imagine yourself affects how you feel, and consequently how and at what level you are able to perform. In many ways, this is an obviousness; it has long been considered a fact that in order to do one’s best one should think ‘positively’, not have ‘low self esteem’, be ‘in the zone’, avoid ’self-consciousness’ etc. What is possibly not immediately obvious is that all these terms are metaphorical; there is no physical state which can be scientifically measured as ‘positive’ or ‘negative’, there is no real mental ‘zone’, self-esteem is not an object that might rise or fall in space, and there is no homuncular ’self’ outside of our normal consciousness which we might become literally aware of as a separate being. These terms, and the concepts and feelings they refer to, only make sense because of the use the mind makes of metaphor, using concrete physical experiences such as objects, height, space, amount etc to understand abstract entities like esteem. Furthermore, these metaphors, like all linguistic elements, do not make sense on their own, but because they are each part of coherent complex metaphorical models which structure a range of related concepts. For example, the low in low self esteem only makes sense because of a coherent set of understandings related to height including such elements as above, below, high, low, bottom, top, rise, fall, drop, float etc.

Once such a metaphor system is constructed, it becomes possible to discuss the otherwise abstract concepts referred to. It may also make available possible actions which affect one’s mental state and performance. For example, without the spatial metaphor implied by ‘low self-esteem’ there would not be the possibility of talking about ‘raising’ self-esteem or or any actions which might bring such ‘raising’ about. Part of the role of a trainer or counsellor is to assist in the construction of a form of understanding which is helpful in the optimisation of performance. A key way this might be achieved is through the sharing of a coherent metaphor for mental function which allows for the possibility of positive change.

Posted in Embodiment, Metaphor, Performance, Training, Up | No Comments »

Defining ‘Centre’

November 27th, 2006 Fred McVittie

The term ‘centre’ is used extensively in a wide range of performance training and enhancement programmes including those associated with dance, theatre, business, spiritual practice, sport, martial arts, therapy, as well as in common parlance. In all cases it indicates a positive psychophysical state conducive to the achievement of particular goals in these different fields. However, as a term it tends to be under-defined and is often used in relatively casual ways, which lowers its potential value as part of a training agenda. To maximise the usefulness of the concept of ‘centre’ its use should be accompanied by the following:

  1. That all discussion which includes terms which relate to the mind are inherently metaphorical, including the language of psychophysical training.
  2. A recognition that, as a terms relating to the functioning of body and mind, it draws on a spatial metaphor the description of body, mind, and their relationships. The term ‘centre’ implies a particular point in an extended space and this cannot be disregarded.
  3. That the spatial metaphor of body and mind, which includes ‘centre’, also contains other elements and entailments which contribute toward the overall metaphor. These include concepts such as boundary, distance, level, etc.
  4. That the spatial metaphor for body and mind, as it is used in one area of practice, can be enriched by an interdisciplinary integration of the same metaphor use from another area of practice. So, for example, techniques and ideas from sports training might be integrated into theatre training where there is an overlapping of the spatial metaphor.
  5. That the spatial metaphor of body and mind may be integrated into a much larger picture of the relationships between body, mind, and world. In other words, a cosmology.

Posted in Centre, Performance, Theatre, Training | No Comments »

Tacit Knowledge Transfer

May 14th, 2007 Fred McVittie

Polanyi’s distinction between tacit and explicit knowledge presumes that. as he puts it, ‘we know more than we can say’, meaning that there are types of knowledge which we are capable of embodying, that is, of ‘knowing’ in a way that we can think consciously and talk clearly about, and there is another knowledge which is inexpressible in words or rational symbols, and which may be unavailable to consciousness. A key aspect of knowledge however, at least as it figures within debates related to research and training, is that it is transmissible; that it is possible for one person, or a group of people, to somehow transfer that knowledge to another person, or another group of people. This begs the question, how is tacit knowledge communicated from one person to another? It is relatively easy to see how this might be achieved with certain crafts and skills; the familiar cliched image of the apprentice learning by copying the master springs to mind, an image which we can perhaps update with reference to mirror neurons but nevertheless it is a knowledge grounded in the work and the know-how of hands and materials. Other forms of knowledge which do not have the same concrete haptic quality, but instead are more abstract, know-that and conceptual, even if they could be somehow ‘embodied’, clearly cannot be transferred in the same hands-on way.

Posted in Knowledge, Training | No Comments »

Jungian Acting

May 29th, 2007 Fred McVittie

“An actor is most likely to excel at their craft if they are ’self-centred’. For many this is synoymous with ‘ego-centric’, a term and an attitude which is associated with largely negative behaviour and modes of being. However, their are many formulations of the self, from a range of psychological, philosophical and spiritual traditions which do not associate the ’self’ with the (usually Freudian) Ego, and which therefore do not place this Ego at the centre of attention and action. Such alternative models of self may allow for useful but more palatable versions of ’self-centredness’ to be constructed, which may also be more conducive to the physical and emotional health of the actor. This paper will consider a particular application of this idea, in which the Jungian concept of ’self’ is embedded with a program of actor training.”

Posted in Acting, Attention, Centre, Jung, Carl G., Training | No Comments »

Tiny Screwdriver (exercise)

August 28th, 2007 Fred McVittie

Imagine you are holding a tiny screwdriver between the fingers of your right hand. It is the kind of tool you would use to mend an expensive watch. The blade is small enough to fit the tiniest screw holding the balance spring. Or it could be used to tighten the circuit board inside a small tactical nuclear weapon. Feel the subtle pressure between the pads of thumb and forefinger, maybe adding the side of the index finger to steady your grip. This is a precision instrument which cannot be handled roughly. Try to imagine yourself using this screwdriver to make an adjustment, hold out your hand and mime the action of tightening the minute screw, barely visible to the naked eye, into place. Take care not to let the screwdriver head slip out of the slot in the screw and be sensitive to the resistance of the screw as it beds into the hole; you don’t want to over-tighten it and strip the threads. When the screw is fully in place hold the screwdriver still and steady, feeling the precise point in space where the work is taking place. Really, really, feel it.

Now look at what the rest of your body is doing. See the way you are holding your left hand; feel the tension in your shoulders, the poised stillness of your head and neck. Notice the way the muscles in your chest and abdomen are braced to support the tiny action, and how your legs are held steady, feet gripping the floor. Check your breathing and find how measured and shallow it is, and how your tongue is placed in a certain way. Your entire somatic system, from the muscles around your eyes to the last joints of your toes, has wrapped itself around this miniscule activity taking place at a contentless point just in front of the still fingers of your right hand. An entire integrated choreography of muscle, bone, breath, and mind.

Posted in Embodiment, Exercises, Training | No Comments »

Three Types of Knowledge

October 10th, 2007 Fred McVittie

In ‘Beyond Understanding’, a keynote speech at the symposium on Threshold Concepts at Strathclyde University in 2006, David Perkins lays out a taxonomy of knowledge and its application to teaching and learning. He describes knowledge as located as in three ontologically distinct forms. Video here. Symposium programme here.

The first he describes as ‘possessive’ knowledge, in which the object of knowledge is felt to be owned by the individual and can be produced on request. So, for example, we might be asked in what year Columbus landed in the New World and we might retrieve the date 1492 and display this known fact, rather as one might take a rock out of one’s pocket and hold it up for inspection. Similarly, the question ‘Who who wrote the novel on which the film “Solaris” is based?’ might solicit the response ‘Stanislaw Lem”. In each of these instances the item of knowledge is considered as possessed by the individual and this possession is, in turn, conceived of as a kind of object, a rock, a book, that can be produced on demand. This metaphorical mapping of the concept of knowledge as object has the effect of awarding other object-like properties to the knowledge item. Objects tend to be relatively solid, clearly bounded, and consistent over time. Similarly, knowledge which has this character of a possessed object is also intuitively experienced as solid, bounded, stationary, and permanent. So, for example, the date of Columbus’ arrival on the shores of New Found Land is felt to be a ‘hard fact’; there is no sense in which we feel that fact to be ’slippery’ or ‘fluid’. Also, that experienced fact is clearly delineated; we do not feel that the edges of it blur into other facts, in fact it is difficult to imagine what this ‘blurring’ might mean. It is also experienced as still and intransient, that this article of knowledge is not wavering or changing its place in the index of human information, and it will continue to occupy this place, in history, in geography, in cartography, forever. This fact, as object-like, and as objective, as a rock, is something we feel we can hold, unchanging and fully graspable. We can take ownership of it and consider ourselves in possession of this fact. We can put this fact in our pocket and produce it on demand. Similar object status might be awarded to the authorship of the book on which the film ‘Solaris’ is based and the response to any question on any TV game show.

The second form of knowledge that Perkins introduces is that which he considers ‘performative’. This type of knowing goes beyond the rote recitation of solid items of data and begins to use this data, these facts, not as objects of thought but as tools to think with. Knowledge, in this formulation, becomes less like a set of solid, separate, inert entities and more like living dynamic structures, capable of breeding, hybridising, fissioning, fusing, and blending. Performative knowledge responds to situations in a way which is not hard and resistant, but which is flexible and yielding, and the clearest examples of this knowledge is its ability to respond to creative or problem-solving situations. Possessed object-like knowledge is speechless when faced with a question such as ‘In what way is the film “Solaris” a commentary on the exploration and conquest of the New World? The individual isolated facts which characterise a possessed knowledge approach do not allow the kind of analysis and creative thinking which the question demands. Performative knowing, on the other hand, is well equipped to make a response to this situation. This may be through, for example, allowing the live information structures which make up the knowledge of Stanislaw Lem’s book, and the film of that book, to mingle with those of Columbus and his first footfall in the Americas. One can imagine a text that brings out the mutability of culture and the act of projective imagination that allows us to conceive of such things as ‘nations’ and ’states’ being born from this miscegenation. This ability of what Perkins calls performative knowledge to dynamically construct novel solutions to problems and creative responses to situations is referred to frequently in literature on creativity and innovation. Koestler calls it ‘bisociation’, elsewhere it is formalised into knowledge generation systems and training routines such as Triz, Synectics, Scamper, etc. Performative knowledge is very good at responding to set briefs, solving problems, fulfulling creative criteria, and producing novel answers to well-framed questions.

The third type of knowledge which Perkins introduces, and the one which adds the most to current understanding of knowledge, is what he terms ‘proactive’. This form of knowing, as the name implies, is neither inert nor reactive or responsive, but rather is actively engaged in the processes of its own implementation. Individuals who are able to mobilise proactive knowledge resources are not ‘problem solvers’ they are ‘problem finders’, that is, the knowledge that they embody (possess is too passive a term) seems to constantly engage with the world around them looking for opportunities to perform. Proactive knowledge does not simply appear on demand when a question is posed or a problem is set, but is out there in the world looking for opportunities. This type of knowledge seems largely to be dispositional; certain attitudes or habits of behaviour need to be in place in order for proactivity to emerge, and whilst such disposition can be learned or cultivated it is likely that some individuals would find this easier than others. Proactive knowledge users, whether by accident of nature or design of education, are constantly asking questions of the world, noticing small irregularities in the fabric of society, finding new uses for old objects, coining new words and phrases because they like the taste of language. They make extensive and joyful use of metaphor and analogy, and are incontinent inventors. Give a proactive knower a new word or a new idea, and watch them scurry around looking for some way to use it.

This continuum of knowledge, from the possessive at one extreme to the most proactive at the other, is complementary to the continuum of objectivity and subjectivity. Possessive knowledge, constitutive of object-like facts, appears, unsurprisingly, at the objective end of the spectrum. It is experienced as distant, removed, existing in interpersonal space. Proactive knowledge, conversely, is felt against the surface of the body, or even inside the body, and is inseparable from the experience of being. It is part of the subjective phenomenological experience of one’s self concept.

Posted in Creativity, Knowledge, Lem, Stanislaw, Psychology, Self, Sense, Training | No Comments »

Threshold Concepts in Performer Training

October 12th, 2007 Fred McVittie

The acquisition of the skills and information needed to produce competent or optimal performance can be exceedingly difficult. The difficulties presented can further be articulated by considering these skills and information sets as ‘knowledge’, and that the gaining of this knowledge might meet with varying degrees of ‘troublesomeness’. The concept of ‘troublesome knowledge’ has been discussed by David Perkins and breaks down into a number of sub-categories. This taxonomic approach may suggest strategies for the reduction of this troublesomeness and thereby the more successful gaining of the knowledge, with a corresponding optimisation of the performance ability.

Posted in Knowledge, Performance, Training | No Comments »