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Could good old fashioned playground clapping games and learning nursery rhymes help dyslexia? A new study suggests there is method in the old school playground games.
Usha Goswami, prof of Cognitive Developmental Neuroscience at Cambridge has spent the last 10 years testing the brains of youngsters to find out what was driving the learning problem. https://www.telegraph.co.uk/culture/hay-festival/11625202/Dyslexia-can-be-overcome-with-nursery-rhymes-and-music-says-Cambridge-professor.html?
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Clear Insight Productions - seeking to keep the arts relevant.
Clear Insight Productions - for people devoted to finding better solutions and ways of doing, being and knowing.
A poem - I think some of you will love this one - it certainly made me laugh creativity coach and author Sam Bennett's homage to "Women Who Workshop." I think it is to all workshop junkies out there in praise of our unstoppable search for more or better. Guilty as found! Can you go to too many workshops? I don't think so. http://bit.ly/Samantha-Bennett-Women-Who-Workshop-poem  Fill in this form below if you'd like to get Clear Insight Production's monthly newsletter.
Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love. Rilke  I'm for ever fascinated where one foot in front of the other can lead. Yesterday I got an email from Adrienne Lloren, a young entrepreneur in Toronto who interviewed me this year for her online summit, "The Thriving Artist." In her email she mentioned one of her mentors, Jim Rohn. I'd never heard of him and curious to know where Adrianne gets her energy and inspiration I did a quick google search. Wikipedia told me that he had been a mentor for Tony Robbins. I was more curious. So I followed a link and watched a couple of videos in Youtube. His talks are about mindset, full of handy phrases and practical common sense. There was some useful information in talks titled "Focus on One Thing", and "How to Use Your Time Wisely." I was tidying up paperwork so listened as I sorted. As it does Youtube suggested some other videos. In the "coming next" box appeared videos from Dr Wayne Dyer - someone I had heard mentioned various times however I never had listened to any of his work. Youtube makes it easy for the curious. One video was called "On the Tao and A Million Little Pieces." I listened to various of the talks as I sorted paperwork and Dyer talked about living the "inspired life." Two things struck me. The first was that one of his chosen quotes was a quote from the British poet, print maker and visionary, William Blake that I have used many times in workshops and in my website, To see a world in a Grain of Sand, This quote always reminded me of what anthropologist Victor Turner talked about in "communitas" - the ability of culture to link people, and the power of art and culture can make you look and look again.
The second factor that surprised me was Dyer talking about 3.15am as one of those special times when you have more access to your quiet and true place. The Celtic Christians called it a "thin place" - where we are closer to that something else. Dyer quotes Rumi's saying, ""The breeze at dawn has special messages for you. Do not go back to sleep." You've guessed it, I woke up, got up to go to the loo, checked the time, and of course it was 3.15am. In the spirit of the coincidence I did my dues and took out a notebook and put down some thoughts. Each day is this sum of one foot in front of the other and the curiosity to find where my nose will lead me next. In the talk, Dyer mentions the book he is working on based on the Tao Te Ching to be called “Change The Way You Look At Life And The Life You're Living Changes.” I don't know if the book stayed with that title but whatever the title I'm sure that it was as fascinating as this talk about our thinking. New Year, New steps. Stay awake even just for the sake of a curiosity to see what might happen.  DECEMBER 2018 - Clear Insight Production's contemporary culture and arts newsletter. Dedicated to the creative and new ways of doing, being and knowing. Here is to #clarity #insightulness #productivity http://bit.ly/Clear-Insight-Productions-Newsletter-12-2018 #leadership #motivation #innovation #entrepreneur #inspiration #art #growth#coaching #passion #mindset #research #entrepreneurship #artsandculture#newwaysofbeingdoingknowing #clearinsight #clearinsightproductions #newsletter  NOVEMBER 2018 - Clear Insight Production's contemporary culture and arts newsletter. Dedicated to the creative and new ways of doing, being and knowing.
Here is to #clarity #insightulness #productivity https://mailchi.mp/1af78fba576f/newsletter-11-2018-clear-insight-productions-sharing-contemporary-culture-arts-news-from-around-and-about #leadership #motivation #innovation #entrepreneur #inspiration #art #growth #coaching #passion #mindset #research #entrepreneurship #artsandculture #newwaysofbeingdoingknowing #clearinsight #clearinsightproductions For sometime I have been fascinated with music in its widest sense whether it is where it spills into opera or the Avantgarde. It has been an unexpected journey for because whilst the pursuit of all things experimental came naturally for me, opera as art form was not on my map for many years. I was far more obsessed with exploring experimental theatre and where it touched dance and the body as in physical theatre, new dance, post-modern dance, performance art, and other cultural movement forms such as Butoh and Body Weather.
It was by chance through my first visit to Argentina with a travel grant from Wales Arts International that I discovered the work of Oscar Edelstein (Composer) and Manuel Eguía (Physicist). Their joint research into the field of acoustics and music was taking sound into an extended form which contained the architectural qualities that I enjoyed in dance and site specific work. In other words they were exploring the exciting world of audio perception and the sense of sound in space. Their cutting edge research is actually nothing new. Edelstein and Eguía are taking up a conversation between the art and science of music that has a long and fascinating story. I approach this without the benefit of a background in acoustical science. musical composition, musicology, or physics but as a multimedia artist dedicated to creating artistic experiences that cross that special line from the ordinary to the extra-ordinary, to the oft quoted liminal space, to that otherness that only poets and maybe priests get to occasionally visit and play. This extensive collaboration between Edelstein and Eguía (which succeeded in being the first research project in Latin America to win major science funding as well as arts funding) re-establishes the old link between science and music - this ambiguous relationship that developed early on in science from the fact that when so often words and vision failed to find adequate explanations for the universe, musical metaphors were a final resort offering concepts such as resonance, vibrations and so on. In recent times the metaphor of vision has dominated science. This makes Edelstein and Eguía’s work together at the Universidad de Quilmes so important as they take us back into the prioritising of the ear and the process of listening. The research of historians like Penelope Gouk of Manchester University offer an intriguing parallel to this modern exploration of music as equally a science and an art, as she establishes the importance of music in the development of modern science. Her book "Music, Science & Natural Magic in Seventeenth-Century England" [1], shows how in the late 16th century and early 17th century the tradition of new experimental philosophy was developing out of the earlier tradition of natural philosophy, and how natural philosophy itself developed out of the tradition of the natural magician - the picture of the lone experimenter who sought to discover universal truths for his personal use or perhaps for that of an elite master. Often music was the source of metaphors used to represent hidden phenomena that could neither be seen or easily put into words. For example the sympathetic resonance between the strings of two instruments was a metaphor frequently used as a way to understand and control unseen forces. So as well as taking us forward in the field of acoustics, Edelstein and Eguia's work follows in the footsteps of a long line of experimenters who used musical models to illustrate links between the seen and the unseen, right back to the early experiments of the “natural philosophers” of the 16th century, individuals who were working even from before the birth of whom we now call scientists (which is a 19th century term), and whose work itself followed from that of the so called 'natural magicians.' These experimenters designed instruments as the first attempts to explain the universe in what has been called the “Naturalisation of the marvellous.” Many of these early experimental philosophers, explains Gouk. were themselves musicians, such as Robert Fludd for whom the practice of music was a step “towards true philosophical knowledge and divine illumination.” It was only later with the new experimental philosophy that figures like Isaac Newton (1642-1727) searching for underlying structures would begin to draw on maths as a language to reveal the unseen. Before that the properties of bell, lutes, trumpets, and keyboards were frequently used as musical models to describe the functions of the body. As pointed out by Gouk, the paradox and perhaps the break with the prevalence of the use of musical models came when polyphony was introduced - it was one thing to listen to one instrument and imagine a universal harmony and cosmic order, but this order was under threat when more than one instrument played together. The practice of tuning and temperament had to be introduced as a way to compensate. It was one thing to imagine universal models linked to antiquity such as Apollo - God of Harmony and Cosmic Order with his association with the lyre - an association that court magician John Dee (1527-1608), frequently used. However, put two lyres together and there was a problem. The cosmic order appeared to break down and new models were needed. It is in this fascinating terrain that Edelstein and Eguia orchestrate the re-meeting of music in its scientific and artistic form. Their work has been patiently and gently taking weight now for over ten years, and the team is ready to show more of the performative results. As a proud member of the production team, I hope this blog begins to identify some of the exciting aspects of this extensive project. I am only beginning here to scratch the surface of the scale of the project and there are others who can speak better about the acoustical science. However I see this as a space to begin new conversations and to offer some material in English and in layman's terms to go alongside the many scientific papers that the research has produced. I hope that little by little I will be able to share a deeper sense of this intriguingly resonant project. Deborah Claire Procter Multimedia Artist & Mentor Founder Clear Insight Productions For questions and more information: info@clearinsight.co.uk [1] Gouk, Penelope, Music, Science & Natural Magic in Seventeenth-Century England, (Yale Uni Press, 1999) [2] Natural Magic itself in this moment was seen as an antecedent to the ancient tradition of Priscia Theologia (Original Theology) and the belief that God had revealed the processes of nature to Adam who in turn revealed them to the “magi” - e.g. Abraham, Moses, Hermes, Orpheus, Pythagorus and so on. Gouk p.103 |
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