Space and time are of fundamental importance to understand human perception, action, memory and cognition. Movement, which describes the changes in the locations of physical objects and human bodies with the passage of time, is equally important in physics, biology, neuroscience, psychology, as well as the arts. Our bodies and minds shape the way we perceive space and time and the scientific theories we formulate about physical laws. Hence the importance of understanding how the brain perceives and represents space, time and movement, and how it plans and controls our bodily movement and actions. Our interest in the use of movement, space and time in different artistic fields - fine and digital arts, performance arts and music - is mainly inspired by the notion that knowledge about the general organizing principles and simplifying strategies used by the brain in perception action and memory, in movement generation and representation, and in action-perception coupling, can lead to new insights regarding the ways artists make use of movement, space and time.

Presentation

Space and time are of fundamental importance to understand human perception, action, memory and cognition. Movement, which describes the changes in the locations of physical objects and human bodies with the passage of time, is equally important in physics, biology, neuroscience, psychology, as well as the arts. Our bodies and minds shape the way we perceive space and time and the scientific theories we formulate about physical laws. Hence the importance of understanding how the brain perceives and represents space, time and movement, and how it plans and controls our bodily movement and actions. Our interest in the use of movement, space and time in different artistic fields - fine and digital arts, performance arts and music - is mainly inspired by the notion that knowledge about the general organizing principles and simplifying strategies used by the brain in perception action and memory, in movement generation and representation, and in action-perception coupling, can lead to new insights regarding the ways artists make use of movement, space and time in their artistic creations and how humans are affected and perceive works of art (aesthetic experiences).

Program

June 19th 2018

Introduction

• 09:00 - 09:05 Introduction and welcome, Gretty Mirdal (Director of the Paris Institute for Advanced Study)
• 09:05 - 09:15 Scientific presentation, Tamar Flash (2017-2018 Paris IAS fellow/Weizmann institute of science) and Alain Berthoz (Collège de France)

Perception and Memory

• 09:15-09:45 Variety of brains geometries for action/perception, Daniel Bennequin (Université Paris Diderot)
• 09:45-10:15 TBA, Jean Petitot (EHESS)
• 10:15-10:45 Perceiving and modelling performers’ movements qualities, Frederic Bevilacqua (IRCAM - Centre Pompidou)

10:45-11:10 Break

• 11:10-12:00 TBA, John O’Keefe (University College London - Nobel Prize of Medicine and Physiology 2016)
• 12:00-12:30 Dimensionality reduction in touch, Vincent Hayward (Sorbonne Université)
• 12:30-13:00 The multiplicity and coherence of brain reference frames, geometries and cognitive strategies for movement, Alain Berthoz (Collège de France)

13:00-14:00 Lunch Break

Action and Emotion

• 14:00-14:30 The role of Neural Circuitry in Skilled Drawings, Emilio Bizzi (Massachusetts Institute of Technology)
• 14:30-15:00 Traces of life, Thierry Pozzo (Université de Bourgogne)
• 15:00-15:30 TBA, Tamar Flash (Paris IAS/Weizmann Institute of Science)
• 15:30-16:00 On what moves us, Beatrice de Gelder (Maastricht University and University College London)

16:00-16:20 Break

Music

• 16:20-16:50 Cortical Dynamics while Following Musical Meters, Moshe Abeles (The Hebrew University and Bar-Ilan University)
• 16:50-17:20 The EEG dynamics signature of flow sensation during movement in music, Guy Cheron (Université Libre de Bruxelles)
• 17:20-17:50 Space and timing in musical expression: lessons from conducting, Eitan Globerson (The Jerusalem Academy of Music and Dance)
• 17:50-18:30 Interaction, Cooperation and Entrainment in Music: Experience and Perspectives, Luciano Fadiga (Università degli Studi di Ferrara) and Sera Tokay

June 20th 2018

09:00-09:10 Representative for the Ministry of Education and Research, Scientific Director for the Humanities and Social Science, Department of Research and Innovation (to be confirmed)

Drawing and Painting

• 09:10-9:40 Motor coordination, cerebellar predictions, and cognitive processing, Chris Miall (University of Birmingham)
• 09:40-10:10 The epistemological role of drawing, Renaud Chabrier (Author, draughtsman and film director, Institut Curie, PSL)
• 10:10-10:40 TBA, Johan Wagemans (KU Leuven)
• 10:40-11:10 Geometry in artistic knowledge and the understanding of fundamental visual processes, Robert Pepperell (Cardiff Metropolitan University)

11:10-11:30 Break

Performing arts

• 11:30-12:00 Individual and collective movement dynamics in performing dance, Guido Orgs (Goldsmiths, University of London)
• 12:00-12:30 The Score of the Dance. Virtual and Actual Spatiality, Einav Katan-Schmid (Humboldt Universität zu Berlin)
• 12:30-13:00 TBA, Antonio Camurri (Università degli Studi di Genova)

13:00-14:00 Lunch Break

Digital Arts

14:15-14:30 Representative for the City of Paris (to be confirmed)

• 14:30-15:00 New artistic practices in digital space : an art of movement in space-time geometries ?, François Garnier (ENSAD)
• 15:00-15:30 Dance notation and humanoid robot motion: compatible geometries?, Jean-Paul Laumond (LAAS-CNRS)
• 15:30-16:00 Spectator and virtual actor movement interactions. From child gestures to interactive digital creation, Marie-Hélène Tramus and Dominique Boutet (Université Paris 8 Saint-Denis)

16:00-16:45 General Discussion

• 16:45 Concluding Remarks, Tamar Flash, Alain Berthoz, and Gretty Mirdal