Embodied Collaboration in Small Groups

Williamson, Kellie; Sutton, John

doi:10.1057/9780230369580_7

Cited by 10 publications

(5 citation statements)

References 82 publications

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“…Let us look at the premises that support this conclusion. First, shared aims and shared plans of the sort Bratman often describes are examples of what Williamson and Sutton (2014) call ‘higher‐order processes.’ Higher‐order cognitive and physical processes are those processes that are or may be rendered explicit within the collaborative activity. They can be ‘plans, strategies, or instructions made and shared …, or changed and adapted’ during the activity.…”

Section: Collaborating Wellmentioning

confidence: 99%

How to Collaborate Well

Sweet

2023

Pacific Philosophical Qtr

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In this paper, I answer the question, how do we collaborate well with others? I first look at cases of good collaboration, contrasting them briefly with some cases of poor collaboration; I then describe the similarities between the good cases, such as shared aims, shared planning of projects, shared norms among collaborators. The conclusion is that collaborating well involves shared norms, derived both from societal norms and from a well-ordered relationship between participants; a shared vision derived from shared knowledge and open communication grounded in relationship; and open-mindedness and thoughtful disagreement, which depend on mutual respect and trust between participants. 1 For instance, Tencati and Zsolnai (2009) argue that businesses should prioritize a collaborative strategy over a competitive one.

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Section: Collaborating Wellmentioning

confidence: 99%

How to Collaborate Well

Sweet

2023

Pacific Philosophical Qtr

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“…Down to the microscales of finding the best recording in the studio, keeping time on stage, and adapting flexibly to unexpected disruptions, they have come to be able skilfully to align their actions and reactions both technically and aesthetically, and (at least when all is going well) with the appearance of effortless ease. Further, as a band with a history, a growing and increasingly international following, and a range of ambitions and hopes, they are also engaged in explicit, intentional, longer-term, goal-driven projects or endeavors, such as returning to Australia to promote their sophomore album after two years living and recording in London (compare Williamson & Sutton, 2014 on the integration of interpersonal alignment in joint action with temporally-extended forms of deliberate collaboration).…”

Section: Creativity In Live Performance On Tourmentioning

confidence: 99%

Between the crowd and the band: Performance experience, creative practice, and wellbeing for professional touring musicians

Geeves¹,

Jones²,

Davidson³

et al. 2020

Intnl. J. Wellbeing

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In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians' wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians' wellbeing, or loop in vicious ways that negatively shape musicians' wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue's distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band.

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“…Fiebich and Gallagher (), Knoblich and Sebanz () and Williamson and Sutton () have also rightly pointed out that the standard accounts neglect to explore the indispensable role played by ‘lower‐level’ embodied capacities and processes in the ongoing collective monitoring, coordinating and controlling of joint actions that unfold over time in changing or unpredictable circumstances (such as during a team sporting event, for example).…”

Section: Problems With the Standard Accountsmentioning

confidence: 99%

Joint Action and the Expression of Shared Intentions: An Expanded Taylorian Account

Bowden

2016

European J of Philosophy

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After having identified several shortcomings of the so‐called ‘standard accounts’ of shared intentions, this paper will develop a novel framework for understanding such intentions. The framework to be advanced hinges on a notion of ‘expression’, as well as on the claim that shared intentions are expressed—that is, manifested, grasped, shaped and clarified—throughout the unfolding of the joint actions they animate, as well as in the various expressive activities and behaviours that accompany joint action. This claim will be defended with particular reference to the work of Charles Taylor on expression, as well as recent work on embodied cognition.

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Embodied Collaboration in Small Groups

Cited by 10 publications

References 82 publications

How to Collaborate Well

How to Collaborate Well

Between the crowd and the band: Performance experience, creative practice, and wellbeing for professional touring musicians

Joint Action and the Expression of Shared Intentions: An Expanded Taylorian Account

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