Destruct 发表于 2025-3-21 19:47:42
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Selbstführung im Rahmen verteilter Führunging the task dynamics; the physical environment(s), including the relationships between playing and audience space; cognitive artifacts such as parts, plots, and playbooks; technologies, such as sound or lighting; the social systems underpinning the company, including the mechanisms for enskillment;parsimony 发表于 2025-3-22 02:46:44
The Stuff of Memory,incipal rivals were guided” (1890/1964: 118). As C. C. Rutter (1999) and Knutson (1991: 15–20) document, this mythical distinction between commercial money-grubbing and the artistic aim of producing “plays of lasting interest” (Fleay 1890/1964: 117) had a strong hold on later theatrical historians.旧病复发 发表于 2025-3-22 05:40:19
Conclusion: Toward a Model of Cognitive Ecology,ing the task dynamics; the physical environment(s), including the relationships between playing and audience space; cognitive artifacts such as parts, plots, and playbooks; technologies, such as sound or lighting; the social systems underpinning the company, including the mechanisms for enskillment;偏离 发表于 2025-3-22 09:06:50
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Book 2011Early modern playing companies performed up to six different plays a week and mounted new plays frequently. This book seeks to answer a seemingly simple question: how did they do it? Drawing upon work in philosophy and the cognitive sciences, it proposes that the cognitive work of theatre is distributed across body, brain, and world.