Stanisław Radoń

Neurosensority in science, art, sport and business (The paradigm shift in cognitive sciences and practical applications in the light of research in mindfulness).

The  purpose  of  this  paper is to explain the origin, nature, and implications of the strength-based approach to sensorimotor imagery. Cognitive researchers have ignored the sensorimotor imaginary in their quest to understand how the mind works. This neglect is due to the limitations of the information processing paradigm that dominated cognitive psychology. Within the past two decades research in cognitive psychology has been dominated  by neuroscientific methods. A strength-based approach is concerned with understanding on the high ability end of the imagery performance spectrum (dynamic imagery, imagery perspective, motor imagery, mental rehearsal of actions without engaging in the actual movements, multi-sensory imagery, measurement, and metacognition). The main part of the paper considers the implications of research on sensorimotor imagery for practical attempts to improve thinking skills in domains such as sport, art (therapy), education and business organizations.

Keywords: mental imaginary, cognitive processes, motor cognition



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Rafał Zapała: Integral artistic, technological and social strategies in sound installation Sensorium


„…The installation is interdisciplinary. The spirit of holistic, integral perception of human emotions, intellect and physiology pervades the work. It combines, in equivalent proportions, the artistic, scientific, technological and psychological aspects…”

Installation in the clock tower of CK Zamek in Poznań, which employs biofeedback and neurofeedback technologies, is a one-person musical (but also design) space upon which biophysical reactions of the visitor exert direct influence.

The production features integral creative strategies. Their objective was to find adequate proportions in the work which blurs the boundaries between art and technology, art and psychology, the creator and the performer, the performer and the viewer, musical score and computer program, generative instrument and linear composition. Here, collective biophysical reactions of the visitor supersede the invalid division into the sphere of physicality, this of mental powers and emotion. The boundary between a theatrical event, musical concert, sound installation and a diagnostic test or mindfulnes session is also obliterated.

Each of these aspects turns into creative material, and the final effect materializes between them.