Attempts to use knowledge derived from the field of cognitive studies in the practice of contemporary dance are very often nowadays. The tactics adopted by artists can be roughly divided into two types: 1. Choreographic contextualization of theories of cognitive processes as an element of the anthropological reflection. 2. Applying this knowledge for the improvement of the technical skills or the preparation of material for the performance. First one, while resulting in sometimes-spectacular performances, in fact is usually a functionalization of cognitive sciences' narrative/language as a source of metaphors for the discourse on chosen values or ideologies. In turn, the second tactic crashes down often on the clash of work strategies and languages of dancers and scientists. In result, their interaction remains shallow - artists annex cognitive concepts as a metaphor for subjective experiences and researchers engage in a narrow aspect of the experience that they are interested in and are able to explore at all. Such hypothesis is proved even by the experience of Corinne Jola - choreographer and neurocognitivist together.
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