Forms of Vitality Play in Infancy

Abstract

In this paper we report a qualitative study based on the constant comparative method to initiate the systematic study of forms of vitality play. This is an unnoticed non-figurative play frame linked to early social play and temporal arts in which child and adult elaborate the dynamics of their own movements and sounds in a repetitionvariation form. In the introduction we present the theoretical underpinnings and the sporadic observations we have done in previous studies. Then, by the iterative observations of the recorded material of a longitudinal case study on play during the third year of life, we generated the general category of forms of vitality play and four subcategories of display modes of forms of vitality play (improvised forms of vitality play, ritualized forms of vitality play, forms of vitality play combined with pretend play, and forms of vitality play combined with role playing) which are illustrated with descriptive narratives. We discuss the properties of the developed categories, the limits of the present study, and the need to continue systematizing the research on this playful activity.

The Structures of the Film Experience by Jean-Pierre Meunier

“…41 The psychological research that I have discussed here raises the possibility that the "aesthetic of astonishment" (to borrow Gunning's phrase) on display in Vertov's film and exemplified by early cinema and the modern action film's trope of abrupt slowness, may stem from very early child's play, marked by "dialogic exchange" in which both child and adult "get to manipulate vitality forms letting novelty emerge from their almost symmetrical exchanges." 42 This 'play' involves not only vitality forms of the human figures on-screen, but also the film's, including not only frame rate but also the speed, intensity, force, and orientation of camera movements and bodies in motion, of sound, of light, and so forth.…”

El Entonamiento Afectivo en las Interacciones Tempranas Adulto-Bebé: una Revisión

“…Son experiencias afectivas que no se reflejan en el léxico de las emociones darwinianas, tristeza, alegría, etc. (Español, 2007), porque originadas en el movimiento, constituyen perfiles de activación en el tiempo que solo pueden describirse mediante términos dinámicos o cinéticos, los cuales se comparten a través del entonamiento afectivo y que se expresan con maestría en las artes temporales, como la música y la danza abstracta (Camarasa, 2011;Español, Martínez, Bordoni, Camarasa, & Carretero, 2014;Español, Bordoni, Martínez, Camarasa, & Carretero, 2015). (Beebe et al, 2003); sin embargo, no siempre es así.…”

Un Análisis de las formas de la vitalidad en la obra La última cinta de Krapp

“…Existen relativamente pocos estudios empíricos de las formas de la vitalidad. Estos abarcan diferentes áreas: estudios sobre el tango -como forma musical y de danza (Shifres et al, 2012), estudios en neurociencias (Di Cesare et al, 2013), en teatro (Stern, 2010), enautismo (Rochat et al, 2013)y en psicología del desarrollo (Español et al, 2014;Español y Shifres, 2015;Martínez et al, 2018).…”