244 Sentences With "kinesthetic" | Random Sentence Generator

Working with clay integrates mental, emotional and kinesthetic brain functions.

To this one-directional system, the researchers then added a kinesthetic feedback signal; when the hand moved in response to a test subject's thoughts, it also triggered vibrations at their reinnervation sites, producing the kinesthetic illusion.

But today, even the most sophisticated prosthetic hands provide no kinesthetic feedback.

While his style has veered from hers, it shares some kinesthetic DNA.

I have a kinesthetic sympathy for dance, but I'm not a dancer.

The classic VAK model for learning styles differentiates Visual, Auditory and Kinesthetic learners.

The researchers will have to take these kinesthetic differences into account once the device becomes portable.

Kidsfit came out with a line of "kinesthetic," or movement-based, classroom equipment about four years ago.

You can destroy their kinesthetic energy or you can enhance it, and I try to enhance it.

"They always need to be involved in their learning in a kind of a kinesthetic way," Ms. Smith said.

There are certainly going to be more than two mediums, and some will be far more visual or kinesthetic.

He brings his compulsively kinesthetic investigations, which look almost like improvised choreography, to outdoor and domestic settings and fixtures.

Everything looked as if it could become animated, brought to life, and her ceramic pieces have that same kinesthetic quality.

That's why getting at least some practice attempts under murky conditions would be important for achieving the desired visual/kinesthetic calibration.

Next, to demonstrate its clinical application, the researchers incorporated the kinesthetic feedback into a prosthetic limb—one they fitted to Kitts.

But watching a stain dry is a far better kinesthetic experience than watching paint dry *simply because* it looks like magic.

" In another article for the Huffington Post discussing the future of news, Communications Week writes, "63% of humans are kinesthetic learners.

"Reflex" (2017) and "Extend/Retract" (2016) are both pointless as well, but they disguise that aspect by falsely offering kinesthetic possibilities.

Kinesthetic learners that learn best by moving, touching and doing will benefit from being able to explore and collaborate in mixed reality.

A more kinesthetic learner-who is more hands on-find it easier to look and copy things I need from the book.

With a whimsical imagination and a sharp eye for detail, Mr. Williams knows how to cook up a visual and kinesthetic feast.

Their lessons are so boring and pointless most of the time … As a kinesthetic learner, I prefer not being on technology a lot.

For example, imagine a young person who is gifted with athletic ability (kinesthetic smart) who tells you he isn&apost good at math.

The pieces in Dre Britton's Structural Integrity each allude to kinesthetic possibilities and futures — expansion, escapism — yet everything is stiff, frozen in time.

It is a sport played in the mid-range, one that doesn't require a lot of kinesthetic awareness of an enemy in your personal space.

Karanka and his coaches then plot out training exercises with all that in mind, what Sean Dyche, the Burnley manager, refers to as the "kinesthetic" approach to learning.

In McNamara's version, there is a kind of kinesthetic remove, which may enrich McNamara's interest in a perpetually plugged-in and distracted world, but ultimately leaves the work lacking.

The feel (or "arousal or emotion") can vary from relaxed to energized, and the focus cues ("most of which are kinesthetic and visual with diving") have an impact on performance, he said.

Halprin's technique of kinesthetic awareness stresses an immersive, emotional attention to the environment; it requires dancers to expand their scope of obligations as fragile human bodies within the context of the rough seashore.

The method hinges on an extraordinary phenomenon that neurophysiologists call vibration-induced kinesthetic illusions: Vibrating a tendon at a frequency between 70 and 115 Hz makes you feel like its associated joint is moving.

Martohardjono, a Southeast Asian gender-queer trans artist, looks at how healing practices and storytelling can be used in contemplating identity, while Paloumpi focuses on kinesthetic awareness, tarot and herbal medicine, among other practices.

Tintoretto takes getting used to, as his startling inventiveness engages unsuspected capacities of your eye, mind, and, in particular, body, which must surrender to the kinesthetic precision of elements that may bewilder at first blush.

Everett Jones, the reviews editor at Publishers Weekly, recalled "Reconcilable Differences: Connecting in a Disconnected World," out last June, whose authors rated people according to their communication styles, which they described as visual, auditory or kinesthetic.

According to Gardner, we&aposve all got abilities in one or more of these intelligences: musical, visual/spatial, linguistic, physical/kinesthetic, logical/mathematical, interpersonal, intrapersonal, naturalistic, and existential — and he&aposs added a possible tenth: pedagogical.

But in the latest issue of Science Translational Medicine, researchers led by Marasco describe a neural interface that mimics kinesthetic feedback via a prosthesis, restoring the sense in test subjects with upper limb amputations—test subjects like Kitt.

It's funny to say, but I think I've always had a dance spirit within, and it's only actually working with Merce and seeing a lot of dance that I finally developed the kinesthetic response for something to move me.

Published in 1543 when Vesalius was only 28 years old, the tome is packed with delightfully gnarly visuals of dissected corpses, accompanied by text outlining the autopsy process and the value of kinesthetic learning and strict empiricism in medicine.

Edyeli Marku, a middle-school teacher at Intermediate School 230 in Jackson Heights, Queens, said there could be "tremendous value in it," for both students and educators — particularly for students who might test as primarily visual, auditory or kinesthetic learners.

"), kinesthetic movements (on this morning, she calls students up to act out how molecules behave), physical models (students roll little balls of Play-Doh to model molecular characteristics) and analytical reading to "ensure that every kid gets some point of access based on their level.

To name just the two points most obvious this week: Its ballerinas used to wear softer point shoes (with memorably quieter landings); and some of its bygone male dancers used to deliver double air turns alternately to right and left, a wonderful skill that has a kinesthetic effect on the viewer.

It requires you to understand the exact ratio of mouse-movement to game-space distance, plus how to compensate if, for example, you're moving left and your target is to the right, which will require an extra millimeter or so of flick, and you have to possess the kinesthetic body awareness to do this with your hand and wrist perfectly almost 100 percent of the time.

But, because work is a kind of cleansing of the mind—the strokes and daubs requiring an even distribution of pressure and a continual maintenance of strength in the wrist and the fingers that is like kinesthetic concentration—and also because she knows the words of Ecclesiastes so well, she does not feel too guilty letting them become abstract, like music, like the beating of her pulse echoed by a mouth that belongs to someone else, a mouth issuing not conversation that needs to be attended to but edicts, or, even better, prayers: paint, draw, fill, transform .

Rita Dunn contends that kinesthetic and tactile learning are the same style. Galeet BenZion asserts that kinesthetic and tactile learning are separate learning styles, with different characteristics. She defined kinesthetic learning as the process that results in new knowledge (or understanding) with the involvement of the learner's body movement. This movement is performed to establish new knowledge or extend existing knowledge.

Kinesthetic intelligence, which was originally coupled with tactile abilities, was defined and discussed in Howard Gardner's Frames Of Mind: The Theory of Multiple Intelligences in 1983. In this book, Gardner describes activities such as dancing and performing surgeries as requiring great kinesthetic intelligence: using the body to create (or do) something. Margaret H'Doubler wrote and spoke about kinesthetic learning during the 1940s, defining kinesthetic learning as the human body's ability to express itself through movement and dance. Viktor Lowenfeld used the term in his textbook for art educators, Creative and Mental Growth.

Although there are proven links to certain stimuli and the two hemispheres of the brain, the idea of kinesthetic learning usually comes under criticism due to its casual use in common vernacular. Studies do show that mixed-modality presentations (for instance, combining auditory, kinesthetic, and visual techniques) improve results in a variety of subjects Instruction that stimulates more than auditory learning (for example, kinesthetic learning) is more likely to enhance learning in a heterogeneous student population.

The core elements of the bodily- kinesthetic intelligence are control of one's bodily motions and the capacity to handle objects skillfully. Gardner elaborates to say that this also includes a sense of timing, a clear sense of the goal of a physical action, along with the ability to train responses. People who have high bodily- kinesthetic intelligence should be generally good at physical activities such as sports, dance and making things. Gardner believes that careers that suit those with high bodily-kinesthetic intelligence include: athletes, dancers, musicians, actors, builders, police officers, and soldiers.

As the first level of the ETC, the Kinesthetic/Sensory level is described as a form of preverbal information processing that is "rhythmic, tactile, and sensual". This simple type of interaction with various art media stimulates primal areas of the brain and meets basic expressive needs—all while providing sensory and kinesthetic feedback for the artist. If an individual is operating at the kinesthetic end of the spectrum, he or she may find satisfaction in movement—i.e. pounding at a piece of clay or scribbling frantically with a crayon.

Under this model, physiological stimuli consist of four elements, one of which is perceptual. Perceptual depicts the auditory, visual, tactual and kinesthetic styles whereby learners learn more effectively. This gives meaning to the concept that kinesthetic learners learn best through whole-body activities and experiences while tactual learners learn best through manipulation of items with their hands.

They support a variety of pedagogies, including quiet study, passive or active learning, kinesthetic or physical learning, vocational learning, experiential learning, and others.

Springfield, Illinois. Charles C. Thomas. Movement is the kinesthetic sense that each person possesses. This can be expressed in the principle of rhythm.

Kinesthetic learning (American English), kinaesthetic learning (British English), or tactile learning is a learning style in which learning takes place by the students carrying out physical activities, rather than listening to a lecture or watching demonstrations. As cited by Favre (2009), Dunn and Dunn define kinesthetic learners as students who require whole-body movement to process new and difficult information.

Subjects can be taught to cater for kinesthetic learners. Through a strength-based and learner-centered approach, educators should engage kinesthetic students in activities that require movements because they learn by doing. Activities could include role-plays, drama, dance, races and competitions, field trips and projects. Favre (2009) stated that instructional strategies should include movement in a game-like format.

Thinking in mental images is one of a number of other recognized forms of non-verbal thought, such as kinesthetic, musical and mathematical thinking.

Charles Tart provides a useful working definition of kinesthetic driving. It is the induction of trance through the sense of touch, feeling or emotions. Kinesthetic driving works through a process known as entrainment. The rituals practiced by some athletes in preparing for contests are dismissed as superstition, but this is a device of sport psychologists to help them to attain an ecstasy-like state.

Years of research culminated in 1943 with her classic work, Remedial Techniques in Basic School Subjects. The popular kinesthetic method anchors modern instruction in the areas of special education and remedial reading. Kinesthetic learning is also included as one of Howard Gardner's multiple intelligences. Fernald's notion of incorporating the physical with the auditory, verbal, and visual elements of reading instruction, now known as "VAKT", multimodal learning, or multisensory imagery, continues to guide educators today.

Human emotions can be easily evoked by different cues, and the sense of touch is one of the most emotionally charged channels. Affective haptic devices produce different senses of touch including kinesthetic and coetaneous channels. Kinesthetic stimulations, which are produced by forces exerted on the body, are sensed by mechanoreceptors in the tendons and muscles. On the other hand, mechanoreceptors in the skin layers are responsible for the perception of cutaneous stimulation.

Kinesthetic synesthesia is one of the rarest documented forms of synesthesia in the world. This form of synesthesia is a combination of various different types of synesthesia. Features appear similar to auditory-tactile synesthesia but sensations are not isolated to individual numbers or letters but complex systems of relationships. The result is the ability to memorize and model complex relationships between numerous variables by feeling physical sensations around the kinesthetic movement of related variables.

Studies have shown that people with acrophobia and/or an extreme fear of falling have higher scores of SMD, or space and motion discomfort. These are physical symptoms elicited by visual or kinesthetic information that is inadequate for normal spatial orientation. Space and motion discomfort arises when conflicting information is detected among visual, kinesthetic, and vestibular sensory channels. Evidence has supported the claim that patients with anxiety and SMD rely more heavily on visual cues for postural changes.

Sprenger details how to teach in visual, auditory, or tactile/kinesthetic ways. Methods for visual learners include ensuring that students can see words written, using pictures, and drawing timelines for events. Methods for auditory learners include repeating words aloud, small-group discussion, debates, listening to books on tape, oral reports, and oral interpretation. Methods for tactile/kinesthetic learners include hands-on activities (experiments, etc.), projects, frequent breaks to allow movement, visual aids, role play, and field trips.

Furthermore, Joseph Harris pointed out that alphabetic writing is the result of multimodal cognition. Writers often conceptualize their work by non-alphabetic means, through visual imagery, music, and kinesthetic feelings. This idea was reflected in the popular research of Neil D. Fleming, more commonly known as the neuro- linguistic learning styles. Fleming's three styles of auditory, kinesthetic, and visual learning helped to explain the modes in which people were best able to learn, create, and interpret meaning.

Matt P., and Clark B., A Kinesthetic Legacy: The Life and Works of Barbara Clark. CMT Press, 1993.Rolland, J., Inside Motion: An Ideokinetic Basis for Movement Education. Rolland String Research Associates, 1987.

"Softkey for Learning With Leeper". Hardcore Computist. Issue 13. 1984. Math and Science for Young Children argues the game can be utilised by children for one-to-one kinesthetic and perceptual-motor experiences.

The phenomenon of retaining a physical skill that has not been used in a long time is well understood. The physical skills of holding and playing an instrument are held in a reflex-level long- term memory called "kinesthetic memory", "motor memory", or "muscle memory." Kinesthetic memory is very durable, and as such, a person may retain the ability to perform on an instrument that they previously played regularly, even if they have not practiced the instrument for weeks or months.

Kinesthetic, proprioceptive and organic perception are a major part of the sensory feedback making the diver aware of personal position and movement, and in association with the vestibular and visual input, allowing the diver to function effectively in maintaining physical equilibrium and balance in the water. In the water at neutral buoyancy, the cues of position received by the kinesthetic, proprioceptive and organic senses are reduced or absent. This effect may be exacerbated by the diver's suit and other equipment.

This influence was apparent in her understanding of kinesthetic movement and the connection between mind and body in the art-making process.Cane, F. (1931a). Art--The Child's Birthright. Childhood Education, 7(9), 482-484.

To teach this a Kinesthetic learningstyle would be used, involving the listeners through music, dream interpretation, or dance.Fisher-Yoshida, Beth, Kathy Dee. Geller and Steven A. Schapiro. Innovations in Transformative Learning: Space, Culture, & the Arts.

Special ed. Newark, DE: International Reading Association. (Original work published 1965) p. 181 Tracing tactile learning tendencies back to Quintilian, Séguin, and Montessori, Fernald's kinesthetic spelling and reading method prompted struggling students to trace words.

Colour combined with vortex-like compositions, starting from a central point to expand outwards, enabled the artist to explore the kinesthetic qualities of visual experience in a way that relates to Bridget Riley's later work.

Some educational theorists have drawn from the idea of mental imagery in their studies of learning styles. Proponents of these theories state that people often have learning processes that emphasize visual, auditory, and kinesthetic systems of experience. According to these theorists, teaching in multiple overlapping sensory systems benefits learning, and they encourage teachers to use content and media that integrates well with the visual, auditory, and kinesthetic systems whenever possible. Educational researchers have examined whether the experience of mental imagery affects the degree of learning.

Movement A key component of a rhythmic education, movement provides another way of reinforcing rhythmic concepts - kinesthetic learning serves as a supplement to visual and aural learning. While the study of traditional classroom music theory reinforces concepts visually and encourages students to develop aural skills, the study of eurhythmics solidifies these concepts through movement. In younger students, the movement aspect of a rhythmic curriculum also develops musculature and gross motor skills. Ideally, most activities that are explored in eurhythmics classes should include some sort of kinesthetic reinforcement.

The first stages of Silambam practice are meant to provide a foundation for fighting, and also preparatory body conditioning. This includes improving flexibility, agility, and hand-eye coordination, kinesthetic awareness, balance, strength, speed, muscular and cardiovascular stamina.

While each has a different musical and dance language, both deploy a host of similar traditional Indian musical instruments. According to Miriam Phillips, the Indian Kathak and the Spanish Flamenco dance share many visual, rhythmic and kinesthetic similarities.

Oral Histories (web). September 9, 2020. . Margaret H’Doubler, the head of the dance department, had a love for kinesthetic awareness and teaching scientifically which she shared by teaching her students how to test the limits of their bodies.

The original model focused on catering to each student's preferred learning style or styles, with different content for auditory, kinesthetic, and visual learners, respectively.Berryhill, Michael. "Think Small." Houston Press. Thursday August 15, 1996. 1. Retrieved on December 2, 2011.

"Thomas, Kevin (March 26, 1969). "'Charro!' Playing a Citywide Engagement". Los Angeles Times Part IV, p. 19. Gary Arnold of The Washington Post called it "the least kinesthetic Western I've ever seen," which "seems to have conceived for the small screen.

The softer and larger things were, the easier it was for children to express themselves without tightening up. These tools facilitated children with free flowing ideas and kinesthetic movement. She believed this promoted the creative process and use of the subconscious.

LVT also incorporates visual and kinesthetic elements that can assist children who are not at ease with verbal intelligence alone. The intellectual chunking of MMs is paralleled with a physical separation and placement. An important component of the information processed through LVT is topological.

Keyboards and typewriters are some of the earliest hands-on computing devices. These devices are effective because users receive kinesthetic feedback, tactile feedback, auditory feedback, and visual feedback. The QWERTY layout of the keyboard is one of the first designs, dating to 1878.Baber, Christopher.

Affection goes further than hugging alone. People in long distance relationships are faced with a lack of physical intimacy on a day-to-day basis. Haptic technology allows for kinesthetic and tactile interface design. The field of digital co-presence envelops Teledildonics as well.

Favre suggested designing kinesthetic games. For example, “game boards such as Tic-Tac-Toe affixed to the classroom floor and hopscotch template painted on the playground tarmac or sidewalks around the school” (p. 32). Favre also suggested that instructors can use "commercial games such as Twister, Jeopardy and Nerf basketball and create game cards that align with their lesson objectives" (pp. 32–33). Reese & Dunn (2007) in their research of college freshmen learning styles provided recommended that "to ensure success for kinesthetic learners, classes should provide active experiences for planning or carrying out objectives, such as visits, project, role playing, simulations and floor or wall games"(p. 108).

In 1971, he moved to Boulder, Colorado and founded Le Centre Du Silence Mime School, which has held an annual International Summer Mime Workshop ever since. As an extension of this work, Avital has also developed a unique method of bodywork called, BodySpeak, for cultivating kinesthetic awareness.

Many students are weak in this area as well. Memory skills can be strengthened like any skill, which in turn affects academics in a positive manner. Cross lateral kinesthetic exercises may be used to strengthen proprioception skills. These physical exercises are thought to strengthen cognitive skills.

In A. Sheikh (Ed.) Imagery: Current Theory, Research and Application (pp. 96-130). New York: Wiley. Good imagery, therefore, attempts to create as lifelike an image as possible through the use of multiple senses (e.g., sight, smell, kinesthetic), proper timing, perspective, and accurate portrayal of the task.

Traditional soil observations with an auger or soil pit offer more engaging and kinesthetic interaction with the subject matter.The Pleasures of Soil Watching by Francis D. Hole, Orion Nature Quarterly, Spring 1988. The joy of teaching soil science, 2014, Hartemink et al., Geoderma, Volumes 217-8.

The Effect of Kinaesthetic Factors in the Development of Word Recognition in the Case of Non-Readers. Journal of Educational Research, 4, p. 355. outlines five phases of the kinesthetic method. With an emphasis on student choice, focal words are generated by the students during the first stage.

Multisensory learning is the assumption that individuals learn better if they are taught using more than one sense (modality). The senses usually employed in multisensory learning are visual, auditory, kinesthetic, and tactile – VAKT (i.e. seeing, hearing, doing, and touching). Other senses might include smell, taste and balance (e.g.

When the kinesthetic system has learned a motor skill proficiently, it will be able to work even when ones vision is limited. The perception of continuous movement (kinesthesia) is largely unconscious. A conscious proprioception is achieved through increased awareness. Kinaesthetics involves the teaching and personal development of such awareness.

In 2003, a study was conducted by the National Study Group On Chronic Disorganization (NSGCD), the purpose of which was to collect data on the effectiveness of using special techniques with clients to avoid kinesthetic sympathy. Organizers working with chronically disorganized clients at their desks were asked to use the kinesthetic sympathy avoidance process by asking their respective clients to hold a mug, drinking glass, or plastic or metal tumbler as a distracting device while working together. The survey was meant to see if, by holding a solid "distraction" item, the client would exhibit less noticeable kinetic sympathy and, therefore, have a more successful paper processing session. The survey achieved mixed results.

Lisa Rose Myers is a Port Severn and Toronto based artist. Myers is of Anishinaabe ancestry, and has background growing up on a farm and working as a cook, all of which has influenced her artwork. Myers is known for her work with storytelling, indigenous culture, hospitality, mapping, and kinesthetic experience.

An "eye accessing cue chart" as it appears as an example in Bandler & Grinder's Frogs into Princes (1979). The six directions represent "visual construct", "visual recall", "auditory construct", "auditory recall", "kinesthetic" and "auditory internal dialogue". According to one study by Steinbach,Steinbach, A. (1984). Neurolinguistic programming: a systematic approach to change.

According to Wilber, various domains or lines of development, or intelligences can be discerned. They include cognitive, ethical, aesthetic, spiritual, kinesthetic, affective, musical, spatial, logical-mathematical, karmic, etc. For example, one can be highly developed cognitively (cerebrally smart) without being highly developed morally (as in the case of Nazi doctors).

Munari was also a significant contributor in the field of children's books and toys, later in his life, though he had been producing books for children since the 1930s. He used textured, tactile surfaces and cut-outs to create books that teach about touch, movement, and colour through kinesthetic learning.

Drawings of countries' currencies, signs and everyday items from food to clothing are among the visual associations constructed into the program. The method engages different learning styles (visual, auditory and kinesthetic) with computer software games, audio CDs, sticky labels (peel-off stick-on vocabulary labels), cut-out menu guides, flashcards and word games.

Jones' sense of timing, polyrhythms, dynamics, timbre, and legato phrasing helped bring the drumset to the foreground. In a 1970 profile published in Life Magazine, Albert Goldman dubbed Jones "the world's greatest rhythm drummer",Goldman, Albert (February 6, 1970). "Elvin Jones' Kinesthetic Trip: World's Best Rhythm Drummer". Life. Retrieved March 15, 2020.

Some of Orton's theories about brain structure and organization would later be confirmed by modern brain researchers, such as Albert Galaburda, who compared the brains of deceased dyslexic and non- dyslexic adults in the late 1970s. Dr. Orton's key contribution to the field of education was the concept of "multisensory" teaching–integrating kinesthetic (movement-based) and tactile (sensory-based) learning strategies with teaching of visual and auditory concepts. Dr. Orton wanted a way to teach reading that would integrate right and left brain functions. He was influenced by the work of fellow psychologist Grace Fernald, who had developed a kinesthetic approach involving writing in the air and tracing words in large written or scripted format, while simultaneously saying the names and sounds of the letters.

Different therapies are offered to children with motor skills disorders to help them improve their motor effectiveness. Many children work with an occupational and physical therapist, as well as educational professionals. This helpful combination is beneficial to the child. Cognitive therapy, sensory integration therapy, and kinesthetic training are often favorable treatment for the child.

Brain matters: Translating research into classroom practice. Association for Supervision and Curriculum Development. This information is pertinent to differentiation, which can activate multiple senses and thus have a greater impact on the brain. Further, Howard Gardner's theory of multiple intelligences identified eight distinct intelligences: linguistic, logical-mathematical, musical, bodily-kinesthetic, spatial, interpersonal, intrapersonal and naturalist.

Mechanisms and disciplines that include kinesthetic driving may include: dancing, walking meditation, yoga and asana, mudra, juggling, poi (juggling), etc. Sufism (the mystical branch of Islam) has theoretical and metaphoric texts regarding ecstasy as a state of connection with Allah. Sufi practice rituals (dhikr, sema) use body movement and music to achieve the state.

The Zest for Learning and Living (ZLL) program aims to enhance multi-intelligence skills. The program is divided in three (3) areas (Career, Creative, and Kinesthetic). Given a particular area of discipline, students plan their own activities, chart their course of actions and determine their procedure, evaluate the outcomes and make recommendations on how they can do better.

Some students learn better by watching (visual learning) while others learn better by hearing (auditory learning). The students who seem to do worse in the traditional school setting learn best by doing (kinesthetic learning). If these students are taught to strengthen their weakest learning systems, then learning becomes easier and more efficient. Some students have problems focusing.

Verbal/ Linguistic is another way that the students' strengths are with words and language. Another type is visual/spatial in which a student would rather use graphs, charts and drawings. Students who enjoy sound, rhymes, and music are musical/rhythmical learners. Bodily/kinesthetic learners are better with their hands and have better control over their bodily motions.

Curson consults with physiologists and sports biomechanics experts in formulating a conditioning program for his athletes. His training techniques are based on plyometrics and ballistic modalities with a physioball modification. He works on speed, flexibility and stamina. He employs fast-twitch muscle training in the swimming pool, downhill sprinting, hypoxic altitude simulation, motor coordination and kinesthetic awareness exercises.

During this time, he was also thinking about much more novel aspects of flight, especially how stability might be maintained. He theorized that the natural balancing reflexes of a person could be adequate to control very small flight vehicles, a concept he called "kinesthetic control". He was also interested in aspects that could lead to Vertical/Short Takeoff and Landing aircraft.

Dance employs emotion, creativity, cultural influence and symbolism to convey meaning. Dance resembles verbal language because it has a vocabulary (dance movements) and grammar (system for combining movements). Dance increases connectedness among students and between students and teachers in the classroom. In schools students can enhance bodily-kinesthetic intelligence, reorganize neural pathways to improve learning, and express knowledge through dance.

In advanced gymnastics, multiple twists and somersaults may be added before landing. Successful vaults depend on the speed of the run, the length of the hurdle, the power the gymnast generates from the legs and shoulder girdle, the kinesthetic awareness in the air, how well they stuck the landing and the speed of rotation in the case of more difficult and complex vaults.

Analyzing his own position in the painting titled The Painter, Roy summarizes Syncretism as an omnivore's passion for the textural integrity of disparate elements in (philosophical) diets and (kinesthetic) desires, one that simultaneously expands away from the limitations of rote traditionalism to encompass a world of gestures and ideas, summoning in their unitary resuturing another world that is ideal, whole, and free.

As well as using her understanding of kinesthetic empathy in her theorizing, she applies her choreographic sensibility to her own editing and dramaturgy of the multi award winning dance on screen works made by The Physical TV Company, which she co-directs with Richard James Allen.Memorabletv.com, "Cutting Rhythms" In 2009 Dr Pearlman was elected President of The Australian Screen Editors Guild (ASE).

Multiple-intelligences Classes are influenced by Dr. Howard Gardner of Harvard University, who developed the Theory of Multiple Intelligences. Dr. Gardner proposes that there are nine "intelligences" that schools need to support: interpersonal, intrapersonal, existential, mathematical/logical, kinesthetic, linguistic, naturalist, musical, and spatial. Teachers incorporate these intelligences into their curriculum. On October 17, 2013 Howard Gardner visited the CH-CH campus.

The frogs' movement patterns and olfactory, auditory, and kinesthetic senses could be explanations for the homing, but not a single factor was able to explain the results, indicating that these frogs might be using all or a combination of these factors for homing.Jameson, David L. 1957. Population structure and homing responses in the Pacific Tree Frog. American Society of Ichthyologist and Herpetologists. Copeia.

Originally NLP taught that people preferred one representational system over another. People could be stuck by thinking about a problem in their "preferred representational system" (PRS). Some took this idea further and categorised people as auditory, kinesthetic, and visual thinkers (see also: learning styles). It was claimed that swifter and more effective results could be achieved by matching this preferred system.

Drumming may be a purposeful expression of emotion for entertainment, spiritualism and communication. Many cultures practice drumming as a spiritual or religious passage and interpret drummed rhythm similarly to spoken language or prayer. Drumming has developed over millennia to be a powerful art form. Drumming is commonly viewed as the root of music and is sometimes performed as a kinesthetic dance.

The classic model for learning styles differentiates between Visual, Auditory, and Kinesthetic learners. Machine maintenance can also be executed with the help of mixed reality. Larger companies with multiple manufacturing locations and a lot of machinery can use mixed reality to educate and instruct their employees. The machines need regular checkups and have to be adjusted every now and then.

This was so she was able to use both arms to create a rhythmic pattern. She started the painting down by her feet, pushed the lines upward towards the sky, and then outward with both arms. Cane titled the finished piece "Credo". Credo reflects her value of kinesthetic experience in artmaking and rhythmic movement inspired by Bach's B Minor Mass.

A bystander can imagine how it would be like to use an artifact by watching others use it, but it is only through actual use that its interactivity is fully experienced and "felt". This is due to the kinesthetic nature of the interactive experience. It is similar to the difference between watching someone drive a car and actually driving it.

Skylar Anderson points out signs that may lead one to believing they are a kinesthetic learner. For example, in his work he states the following signs: your knee is bouncing constantly. You regularly kick a soccer ball, or toss a baseball, or spin a basketball on your finger while having a conversation. You crack your fingers while preparing for, or doing, an activity.

Bruno Munari (October 24, 1907 in Milan – September 30, 1998 in Milan) was an Italian artist, designer, and inventor who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphic design) in modernism, futurism, and concrete art, and in non-visual arts (literature, poetry) with his research on games, didactic method, movement, tactile learning, kinesthetic learning, and creativity.

Currently operating in 12 Clubs, including three elementary extension sites, the Literacy Initiative utilizes the Slingerland Multi-Sensory Approach to engage youth in kinesthetic, auditory and visual learning."Boys & Girls Clubs of America Prepares Youth for Back to School Season with 'Stuff the Bus' Challenge", wmcactionnews5.com, In the 2015-16 program year, over 1,200 youth participated in this critical program.

These include: behavior change communication, mass communication, and advocacy communication. Different types of mediums can be used in achieving governance, health and sustainable development. Old media can be combined with new media to educate specific populations. Information and communication technologies (ICTs) in addition to multi-media are able to address visual, auditory and kinesthetic learners and prove to be an important contribution to economic growth.

Bulbous corpuscles react slowly and respond to sustained skin stretch. They are responsible for the feeling of object slippage and play a major role in the kinesthetic sense and control of finger position and movement. Merkel and bulbous cells - slow-response - are myelinated; the rest - fast-response - are not. All of these receptors are activated upon pressures that squish their shape causing an action potential.

There is a new focus on combining written and oral rhetoric, speaking and listening with writing and reading. Media is becoming the biggest way to receive messages across the world, but it is also one of the greatest mediators. Jesuit schools are also engaging literacy with other forms of expression such as the new digital revolution and new media technologies which are visual, aural, kinesthetic, and verbal.

When starting a basic AM session, participants start in a comfortable position, eyes closed to sense their inner body-mind processes. They then wait for stimuli to arise within them, and follow each impulse expressing movement or sound. Individuals move through the space entirely free from any direction or expectation. This allows people to explore psychological processes as they arise into kinesthetic responses of movement or sound.

Arrowsmith Young was born in Toronto on November 28, 1951 to Jack and Barbara Young. Her father was an electrical engineer who worked for Canadian General Electric. Her mother was a teacher. As a child she had exceptional visual and auditory memory, but it was coupled with several severe deficits in other areas, including dyslexia, dyscalculia, and problems with spatial reasoning, logic, and kinesthetic perception.

Although extensive research has been done in regards to kinesthetic learning, there are still several research projects that have had mixed results due to the ambiguous nature of deducing one's learning style tendencies..Tobias, Cynthia Ulrich (2013). The Way They Learn. Colorado Springs: Focus On The Family. . As it stands, there is not a sound way to fully deduce an individual's ideal learning style.

Haptic memory is best for stimuli applied to areas of the skin that are more sensitive to touch. Haptics involves at least two subsystems; cutaneous, or everything skin related, and kinesthetic, or joint angle and the relative location of body. Haptics generally involves active, manual examination and is quite capable of processing physical traits of objects and surfaces.Lederman, S J and Klatzky RL; Attention, Perception, & Psychophysics.

These features are central to the use of floorwork in choreography, and also affect its role in technique classes. Executing floorwork smoothly requires flexible joints, a relaxed body, and attention to the kinesthetic feedback provided by the floor. The "low" or floorwork level is one of three principal spatial levels dancers may occupy, along with the middle or bipedestrian (upright) and the high or aerial (jumping) levels.

Halprin's course of investigating her own way of creating movement called for understanding the limits of the body and the reactions the body makes when an initiation is made.Ross, Janice. Anna Halprin. (Los Angeles: University of California Press, 2007), 53. In her own words she describes being aware of one’s kinesthetic sense “is your special sense for being aware of your own movement and empathizing with others.

Tactile cues are a type of human touch cues that have a wide variety of skin receptors located below the surface of the skin that provide information about the texture, temperature, pressure and damage. Kinesthetic cues are a type of human touch cues that have many receptors in the muscles, joints and tendons that provide information about the angle of joints and stress and length of muscles.

The ability to exert large and precise force is reduced. Balance and equilibrium depend on vestibular function and secondary input from visual, organic, cutaneous, kinesthetic and sometimes auditory senses which are processed by the central nervous system to provide the sense of balance. Underwater, some of these inputs may be absent or diminished, making the remaining cues more important. Conflicting input may result in vertigo, disorientation and motion sickness.

Vorkapich used kinetic editing, lap dissolves, tracking shots, creative graphics and optical effects for his montage sequences for such features as Manhattan Melodrama (1934), Maytime, The Firefly (both 1937), and Meet John Doe (1941). He created, shot, and edited these kinesthetic montages for features at Universal Pictures, MGM, RKO, and Paramount. He directed a short documentary movie for RKO, Private Smith of the U.S.A., that was nominated for an Academy Award.

Arts Based Curriculum Integration (ABCi) reaches visual, auditory and kinesthetic learners all at the same time by bringing events, characters and conflicts to life. ABCi residencies are built around specific English Language Arts or Social Studies units. HartBeat teaching artists work closely with the classroom teacher to customize each ABCi residency in order to target subject mastery and achievement of appropriate Common Core standards. The target population is K-12th.

Research has found that using dance movements as a form of therapy activates several brain functions at once: kinesthetic, rational, musical, and emotional. This type of movement requires mental, physical, and emotional strength to work simultaneously. In one research study, senior citizens were placed in a 21-year study to see if any physical or cognitive recreational activity influenced mental acuity. Researchers monitored rates of dementia in the elderly participants.

As happens with the monocular accommodation cue, kinesthetic sensations from these extraocular muscles also help in depth/distance perception. The angle of convergence is smaller when the eye is fixating on far away objects. Convergence is effective for distances less than 10 meters. ; Shadow Stereopsis : Antonio Medina Puerta demonstrated that retinal images with no parallax disparity but with different shadows are fused stereoscopically, imparting depth perception to the imaged scene.

Cane suggested the first art directive for any individual should involve a "full, balanced movement" such as throwing a ball or playfully producing lines. Moving the body with ease while making art could help children build trust in creating and exploring their kinesthetic senses through activities involving perception, memory, and imagination. These activities included observing objects, recalling the objects observed without looking, and thinking of new material and imagery.

Other researchers, interested in this new research study, analyzed Thurstone's data, discovering that those scored high in one category often did well in the others. This finding gives support that there is an underlying factor influencing them, namely g. Howard Gardner suggested in his theory of multiple intelligences that intelligence is formed out of multiple abilities. He recognized eight intelligences: linguistic, musical, spatial, intrapersonal, interpersonal, logical-mathematical, bodily-kinesthetic, and naturalist.

Arlene Louise Croce (born May 5, 1934) founded Ballet Review magazine in 1965. She was a dance critic for The New Yorker magazine from 1973 to 1998. Prior to her long career as a dance writer, she also wrote film criticism for Film Culture and other magazines. The keynote of her criticism can be grasped from her ability to evoke kinesthetic movement and expressive images in her writing.

Zimmerman's research posited aircraft having flat circular bodies, sans wings, as their lifting surface. In the 1940s, Zimmerman and the Navy began researching this idea, which led to the Vought XF5U, nicknamed the "flying pancake". In 1953, Hiller Aircraft contracted with the Office of Naval Research to combine several research ideas, including Zimmerman's "kinesthetic" theory, to produce an airworthy "flying platform". The project was classified and conducted at Hiller's Advanced Research Division.

Neither of the variants was put into production. The smaller ONR model used two Nelson H-59 piston engines, coupled to the propellers by a modified helicopter transmission built by the Industrial Power Division of Hall-Scott. The larger Pawnee model used three of those engines and had an extended duct area. The Pawnee had ineffective "kinesthetic control" and instead had the operator seated on a platform controlling the flight with conventional helicopter controls.

Yamanouchi co-founded MDA Produzioni Danza, a dance and performing arts school in the Castelnuovo di Porto neighbourhood of Rome. He has also taught at the Silvio D'Amico National Academy of Dramatic Arts, Teatro dell'Opera di Roma, and the Teatro Carlo Felice. He has also conducted numerous internships for mimes, dancers and actors for various associations, foundations and theater schools, on the themes of improvisation, spontaneous movements and acting with the kinesthetic approach.

TPR is aptitude-free, working well with a mixed ability class, and with students having various disabilities. It is good for kinesthetic learners who need to be active in the class. Class size need not be a problem, and it works effectively for children and adults. However, it is recognized that TPR is most useful for beginners, though it can be used at higher levels where preparation becomes an issue for the teacher.

The teaching methodology employed at Amity is designed to draw on visual, audio, and kinesthetic learning styles. Teachers also create props to provide context and meaning for the lessons, and they utilize repetition for pointing out incorrect usages of language. Teachers also commonly use teaching materials such as songs, books, and other print-based and non-print-based materials. _Lesson Types_ Amity offers group lessons, semi-private lessons, private lessons, and interactive lessons.

Gumbasia was created in a style Vorkapić taught called Kinesthetic Film Principles. Described as "massaging of the eye cells" this technique, based on camera movements and stop-motion editing, is responsible for much of the look and feel later seen in Gumby films. When Clokey showed Gumbasia to film producer Sam Engel in 1955, Engel decided to fund a 15-minute short film that became the first Gumby episode—"Gumby Goes to the Moon".

A VHMR setup allows the user to perceive visual and kinesthetic stimuli in a co-located manner, i.e., the user can see and touch virtual objects at the same spatial location. This setup overcomes the limits of the traditional one, i.e, display and haptic device, because the visuo-haptic co-location of the user's hand and a virtual tool improve the sensory integration of multimodal cues and makes the interaction more natural.

Balance and equilibrium depend on vestibular function and secondary input from visual, organic, cutaneous, kinesthetic and sometimes auditory senses which are processed by the central nervous system to provide the sense of balance. Underwater, some of these inputs may be absent or diminished, making the remaining cues more important. Conflicting input may result in vertigo and disorientation. The vestibular sense is considered to be essential in these conditions for rapid, intricate and accurate movement.

She also developed a system using reimagining kinesthetic sensations, such as of being held, to help adult survivors remember their parents who died during the Holocaust. She was co-founder of the Hidden Child Foundation as well. Kestenberg’s work led to greater recognition of child survivor syndromes and posttraumatic stress disorder. Kestenberg also became involved in working with the children of survivors, investigating the after effects of violent experiences on following generations.

Spatial-temporal reasoning is the ability to visualize special patterns and mentally manipulate them over a time-ordered sequence of spatial transformations. Spatial visualization ability is the ability to manipulate mentally two- and three-dimensional figures. Spatial-temporal reasoning is prominent among visual thinkers as well as among kinesthetic learners (those who learn through movement, physical patterning and doing) and logical thinkers (mathematical thinkers who think in patterns and systems) who may not be strong visual thinkers at all.

The 1921 Journal of Educational Research contains Fernald's foundational study of four boys who learn to spell and read by her kinesthetic method. This method influenced other researchers working at the same time in the field of reading difficulties. Notable examples include Samuel Orton and Anna Gillingham. The article in the Journal of Educational Research, "The Effect of Kinaesthetic Factors in the Development of Word Recognition in the Case of Non-Readers",Fernald, G. M., & Keller, H. (1921).

Muscle spindle discharges are sent to the spinal cord through afferent nerve fibers, where they activate monosynaptic and polysynaptic reflex arcs, causing the muscle to contract. The effects of sustained vibratory stimulation on muscle contraction, posture and kinesthetic perceptions are much more complex than merely contraction of the muscle being vibrated. Russian scientists Victor Gurfinkel, Mikhail Lebedev, Andrew Polyakov and Yuri Levick used vibratory stimulation to study human posture control and spectral characteristics of electromyographic (EMG) activity.

Current Directions in Psychological Science, 3(5), 140-145. For elementary school children, aged 4–11, intellect is positively related to their level of auditory-visual integrative proficiency. The most significant period for the development of auditory- visual integration occurs between ages 5–7. During this time, the child has mastered visual-kinesthetic integration, and the child's visual learning can be applied to formal learning focused towards books and reading, rather than physical objects, thus impacting their intellect.

In addition, the camp has a beach volleyball area, and while gaga is not offered as an activity choice, it is played regularly. Sports programs are recreational and competitive in nature, and do not focus on kinesthetic skill development. The most popular two sports are basketball and softball, because of the inter- eidah (age division) games in these two sports. The 2002 Nivonim Boys have the most successful record in inter-eidah competitions at 13-3.

These devices use the sense of touch to simulate the physical interaction between the user and a virtual object. There are three different types of 3D Haptic displays: those that provide the user a sense of force, the ones that simulate the sense of touch and those that use both. The main features that distinguish these devices are: haptic presentation capability, resolution and ergonomics. The human haptic system has 2 fundamental kinds of cues, tactile and kinesthetic.

The development of new technologies has now made it plausible to provide patients with prosthetic arms with tactile and kinesthetic sensibilities. While this is not purely a sensory substitution system, it uses the same principles to restore perception of senses. Some tactile feedback methods of restoring a perception of touch to amputees would be direct or micro stimulation of the tactile nerve afferents. Other applications of sensory substitution systems can be seen in function robotic prostheses for patients with high level quadriplegia.

The film begins with an aerial shot of flying over water, displayed on a small sub-section of the screen. After a few seconds, the image expands to the full six-storey height of the IMAX screen. The aerial shot, along with the large IMAX screen, induced the "Kinesthetic effect" which meant that viewers would experience the flying sensation due to eye perception over-ruling the inner ear balance. Viewers were warned to close their eyes if they experienced any discomfort.

"Real Space" is a component of immersive theater, and actual space is a part of the staged play. If the play is set in a castle, audiences would go to real castle and have people watch it there in order for them to get feeling of being immersed in the theatrical performance. Engaging the senses, such as blindfolding the audience, can heighten the sense of hearing sound. Movement can affect how audiences perceive plot—moving around the theater space immerses the kinesthetic sense.

These chakras symbolize parts of the body that govern spiritual, intellectual, and emotional equilibrium. The installation invites participants to activate their intuitive, kinesthetic experience through their participation with the chakras. Each of the paintings is made with metal leaf, crushed crystals, and micro-glitter to give its surfaces a reflective quality in reference to the radiance of the chakra energies. Upon entering the installation participants encounter a medicine wheel meant to guide them to a larger universe and a higher consciousness.

The Integrated Arts is defined as an activity which induces in the learner an emotional or kinesthetic state which is in some way analogous to the concept being taught, and which occurs through heightened sensory awareness on the part of the learner. The term integrated is used to denote the integration of the arts experience into the learning process. The Integrated Arts Experience provides opportunities for the following processes to occur: # perceptual cognition # metaphorical modes of thinking # use of alternative forms of communication.

The kinesthetic system is important with performing many motor skills, one being driving a car. If the body could not instantly remember what to do, driving would be very dangerous. When first starting to drive, all new drivers lack this ability to quickly respond because they have never been in situations like this before. The more they drive and are faced with similar situations, the more they get used to how to react and the more it becomes an instinct.

Arts integration is another and/or alternative way for the arts to be taught within schools. Arts integration is the combining of the visual and/or performing arts and incorporating them into the everyday curriculum within classrooms. Learning in a variety of ways allows for students to use their eight multiple intelligences as described by theorist Howard Gardner in his Frames of Mind: Theory of Multiple Intelligences. The eight multiple intelligences include bodily-kinesthetic, intrapersonal, interpersonal, linguistic, logical-mathematical, musical, naturalist, and spatial.

Primary principles comprising the structure of Differentiated Instruction include formative and ongoing assessment, group collaboration, recognition of students' diverse levels of knowledge, problem-solving, and choice in reading and writing experiences. Howard Gardner gained prominence in the education sector for his Multiple Intelligences Theory. He named seven of these intelligences in 1983: Linguistic, Logical and Mathematical, Visual and Spatial, Body and Kinesthetic, Musical and Rhythmic, Intrapersonal, and Interpersonal. Critics say the theory is based only on Gardner's intuition instead of empirical data.

Low-tech implementations of random word often randomly shuffle a pile of index cards. For example, the "Oblique Strategies" created by Brian Eno and Peter Schmidt in 1975 is a set of 100 cards, each of which is a suggestion of a course of action or thinking to assist in creative situations, where standard logical solutions do not produce the desired result. High-tech implementations adopt computers, random number generators and internet resources. Simple random techniques are classified by modality of association (Verbal, Visual, Audial, Kinesthetic).

On the eve of Fernald's retirement from the UCLA clinic, Time magazine (July 12, 1948) highlights the story of one boy's reading adventure in Fernald's clinic. The title of the article, "Reading by Touch" aptly reflects the Fernald method. Stepping down after 27 years, Fernald sums up the theory behind her "kinesthetic method" with the explanation that "reading difficulties occur most frequently in people who lack the ability to summon up a mental picture of the way a word looks"."Reading by Touch" (July 12, 1948). Time.

Washburn's best-known work and, arguably, her most significant contribution to psychology was her influential textbook, The Animal Mind: A Textbook of Comparative Psychology. Originally published in 1908, this book compiled research on experimental work in animal psychology. Her range of literature was considerable, resulting in a bibliography of 476 titles in the 1st edition, which eventually grew to 1683 titles by the 4th edition. The Animal Mind covered a range of mental activities, beginning with the senses and perception, including hearing, vision, kinesthetic, and tactual sensation.

Although there is some research that supports the notion that eye movement can indicate visual and auditory (but not kinesthetic) components of thought in that moment, the existence of a preferred representational system ascertainable from external cues (an important part of original NLP theory) was discounted by research in the 1980s. note: "psychological fad" p.625 Some still believe the PRS model to be important for enhancing rapport and influence. Others have de-emphasized its relevance and instead emphasize that people constantly use all representational systems.

Open skills are skills that require more flexibility in learning such as team sports. A person learning how to play football learns multiple drills, strategies, and practices scrimmages in order to learn how to work in multiple types of environments. Because no football game is the same, and a person can't know going into a game the exact steps the other team is going to take, open skills are required to become successful. Cognitive skills also are a part of kinesthetic learning, perceptual learning, and skill memories.

There are three parts of the brain that are the most important to kinesthetic and skill learning. The basal ganglia, cerebral cortex, and the cerebellum all play equally important roles in the ability to learn new skills and master them. The basal ganglia are a collection of ganglia (clusters of neurons) that lie at the base of the forebrain. The basal ganglia receive information from other parts of the brain such as the hippocampus and cortical areas that send messages about the outside world.

It assists in predicting events, especially in the formation, execution, and timing of conditioned responses. The cerebellum plays a very important role in all forms of kinesthetic learning and motor function. For a ballerina, it is important to be able to control their movements and time it exactly right for their routine. For a football player it is important to be able to regulate movement when running throwing, and being able to have control over where the ball goes as well as the timing of it.

Balance can also be negatively affected in a normal population through fatigue in the musculature surrounding the ankles, knees, and hips. Studies have found, however, that muscle fatigue around the hips (gluteals and lumbar extensors) and knees have a greater effect on postural stability (sway). It is thought that muscle fatigue leads to a decreased ability to contract with the correct amount of force or accuracy. As a result, proprioception and kinesthetic feedback from joints are altered so that conscious joint awareness may be negatively effected.

Learning for students was often kinesthetic, for example, through dramatic enactments of history and fantasy, and through musical exercises that were reminiscent of the patterns found on ancient Greek vases, depicting figures moving in parallel patterns. These parallel patterns could be found in later Nerdrum work, as can a sensibility for iconographic images and costume. Jens Bjørneboe, Norwegian author, and mentor said Nerdrum even at a young age exhibited tendencies of innate talent and industry, but also impatience with those with less abilities than himself.

Design projects require students to establish goals and constraints, generate ideas, and create prototypes through storyboarding or other representational practices. Robotics competitions in schools are popular design-based learning activities, wherein student teams design, build and then pilot their robots in competitive challenges. Design-based learning was developed in the 1980s by Doreen Nelson, a professor at California State Polytechnic University, Pomona and the Art Center College of Design. Her findings suggested that kinesthetic problem-solving helps students acquire, retain, and synthesize information in practical ways.

His compositions for percussion, voice, choral, piano, violin, and handbells are listed in "An Annotated Bibliography of Percussion Works by Stanley Leonard." He also composed method books, including Pedal Technique for the Timpani. This book's unique method helps the timpanist develop a total concept of timpani performance by producing kinesthetic confidence, achieved by educating foot and leg movements in conjunction with the stroke of the stick, while also focusing on the pitch being tuned. At Carnegie-Mellon University (1958-1978), he taught percussion, timpani and percussion ensemble.

Zachary Smalls, a friend of his father's and a former standout Washington State University football receiver in the 1980s, ran a speed and agility training camp for athletes 12 years old and up. Impressed with Cooper's speed, Smalls admitted the boy to his training camp even though Cooper was only 10 years old. Cooper's parents, both of whom have master's degrees, realized early on that their son had a moderate learning disability. His reading comprehension was minimal, and he learned best through kinesthetic learning (doing, experiencing, moving, or touching).

Cooper received a football scholarship from Washington State. He was redshirted at Washington State, attending classes, practicing with the football team, and dressing for play but not competing in games. He was strongly mentored by Heather Erwin, an academic advisor at WSU who worked extensively with Cooper to ensure that he went to classes, studied hard, discussed assignments with professors, asked for extra credit, and engaged in study habits that met his particular kinesthetic learning needs. By May 2015, Cooper was just eight credit hours short of a degree in criminal justice.

ADD-on-GYAN Educational Services (AOGES) is an educational services based in Manipal, Mangalore, India. ADD-on-GYAN has created GyanLab which is a kinesthetic lab facility that encourages and allows school kids (Grades 3-9) to learn practical concepts in science, social science, electronics, robotics, mathematics and Pre-vocational Learning (day-to-day activities and utilities), in a hands-on manner using practical experiments, activities and model-making. The facility is usually set up within a school free of cost and students attend it by paying an annual fee.

They had survived sexual abuse by blocking emotions, and Anderson discovered that manipulating clay caused a great number of suppressed emotional memories to surface in the group members. Due to this finding, she believed that manipulating clay was a kinesthetic learning experience that prevented people from remaining emotionally stagnant. Anderson reflected on the experience as facing "the evils" and also adding the spiritual aspects to the process helped empower the women. One group member reported that she had been in therapy for 20 years, but did not experience any emotional changes until the clay group.

Gumby was created by Art Clokey in the early 1950s after he finished film school at the University of Southern California (USC). Clokey's first animated film was a 1953 three-minute student film called Gumbasia, a surreal montage of moving and expanding lumps of clay set to music in a parody of Disney's Fantasia. Gumbasia was created in the "kinesthetic" style taught by Clokey's USC professor Slavko Vorkapić, described as "massaging of the eye cells." Much of Gumby's look and feel was inspired by this technique of camera movements and editing.

Multiple Intelligences: New Horizons. p 6-7. Gardner suggested a general correspondence between each capability with an occupational role in the workplace, for examples: for those individuals with linguistic intelligence he pointed journalists, speakers and trainers; scientists, engineers, financiers and accountants on logical- mathematical intelligence; sales people, managers, teachers and counselors on the personal intelligence; athletes, contractors and actors on bodily- kinesthetic intelligence; taxonomists, ecologists and veterinarians on naturalistic intelligence; clergy and philosophers on existential intelligence and designers, architects and taxi drivers, astronauts, airplane pilots and race car drivers and stunt men on spatial intelligence.

In his doctorate, Dunham worked closely with J.P. Guilford on developing the factor structure of intelligence. Guilford was known for his “Guilford Structure of Intellect”, where he presented more than 150 different intellectual abilities, along three main dimensions: (1) Operations, (2) Content, and (3) Products. However, Dunham found at least two distinct factors within Guilford’s factor structure Content domain: (1) Figural- Concrete, real world information, tangible objects—things in the environment. It includes visual: information perceived through seeing; auditory: information perceived through hearing; and kinesthetic: information perceived through one's own physical actions.

The acknowledgement and application of different cognitive and learning styles, including visual, kinesthetic, musical, mathematical and verbal thinking styles, are a common part of many current teacher training courses. Those who think in pictures have generally claimed to be best at visual learning. Empirical research shows that there is no evidence that identifying a student's "learning style" produces better outcomes. There is significant evidence that the widespread "meshing hypothesis", the assumption that a student will learn best if taught in a method deemed appropriate for the student's learning style, is invalid.

Younger art historians will have to sort out the development of this marginalized "movement" and the importance of artists such as Olga Kisseleva, Patricia Johanson, Athena Tacha, Mary Miss, Alice Adams, Elyn Zimmerman, Merle Temkin and others who, from the early 1970s on, won and executed large outdoor public art commissions with new formal, kinesthetic and social underpinnings. Many of these artists were also ecologically conscious and created works that could offer a further definition of "environmental sculpture": art that is environmentally friendly and cares for the natural environment.

The receptor for the sense of balance resides in the vestibular system in the ear (for the three-dimensional orientation of the head, and by inference, the rest of the body). Balance is also mediated by the kinesthetic reflex fed by proprioception (which senses the relative location of the rest of the body to the head). In addition, proprioception estimates the location of objects which are sensed by the visual system (which provides confirmation of the place of those objects relative to the body), as input to the mechanical reflexes of the body.

Vibratory sensations resulting from the closely related processes of phonation and resonation, and kinesthetic ones arising from muscle tension, movement, body position, and weight serve as a guide to the singer on correct vocal production. Another problem in describing vocal sound lies in the vocal vocabulary itself. There are many schools of thought within vocal pedagogy and different schools have adopted different terms, sometimes from other artistic disciplines. This has led to the use of a plethora of descriptive terms applied to the voice which are not always understood to mean the same thing.

Dysgraphia can sometimes be partially overcome with appropriate and conscious effort and training. The International Dyslexia Association suggests the use of kinesthetic memory through early training by having the child overlearn how to write letters and to later practice writing with their eyes closed or averted to reinforce the feel of the letters being written. They also suggest teaching the students cursive writing as it has fewer reversible letters and can help lessen spacing problems, at least within words, because cursive letters are generally attached within a word.

Zellweger’s teaching system, for logic, integrates the developmental and interactive approaches of Fröbel, Montessori, and Piaget. This is accomplished through the use of educational tools and models that predominantly focus on visual and kinesthetic learning modalities. At every level in the educational ladder, students of Zellweger’s system learn in a natural and intuitive way through the use of sensory-motor exercises and a variety of interactive geometric models. (See video of Zellweger’s teaching models at the Museum of Jurassic Technology:) These models, at the most advanced level, become extremely complex and beautiful.

Visual learning is one of the three basic types of learning styles described in the Fleming VAK/VARK model in which a learner needs to see information in order to process it. Visual Learners can utilize graphs, charts, maps, diagrams, and other forms of visual stimulation to effectively acquire information. The Fleming VAK/VARK model also includes kinesthetic learning and auditory learning.Leite, Walter L.; Svinicki, Marilla; and Shi, Yuying: Attempted Validation of the Scores of the VARK: Learning Styles Inventory With Multitrait–Multimethod Confirmatory Factor Analysis Models, pg. 2.

The gracile nucleus is medial to the cuneate nucleus; its neurons receive afferent input from dorsal root ganglia sensory neurons subserving the lower trunk and limbs. The gracile nucleus and gracile fasciculus carry epicritic, kinesthetic, and conscious proprioceptive information from the lower part of the body (below the level of T6 in the spinal cord). Because of the large population of neurons in the gracile nucleus they give rise to a raised area called the gracile tubercle on the posterior side of the closed medulla at the floor of the fourth ventricle.

The Kiiroo SVir is a good example of an Adult CyberToy that incorporates tactile input, by means of a surface that is touch capacitive, and an inside that is kinesthetic in nature. 12 rings contract, pulse and vibrate according to the movements one's partner makes in real time. The SVir mimics the actual motion of its OPue counterpart and is also compatible with other SVir models. The SVir enables women to have intercourse with their partner through use of the OPue interactive vibrator no matter how great the distance that separates the couple.

Telehaptic is the term for computer generated tactile (tangible or touch) sensations (haptics) over a network, between physically distant human beings, or between a local user and a remote location, using sensors and effectors. Microcontrollers input information from sensors, and control effectors to create human sensations as outputs. Sensors range from pressure, temperature and kinesthetic sensing devices, to biofeedback equipment. Haptic effectors, evoking precise perceivable sensations, range from small motors, fans, heating elements, or vibrators; to micro-voltage electrodes which gently stimulate areas of the skin (creating subtle, localized, "tingling" electrotactile sensations).

Dena Lister highlights the improvements that were found in classroom performance of sixth-grade learning-support students. Lister writes, "The LSS students also produced significantly the first Learning-Style treatment, suggesting that this particular Learning-Style instructional approach, rather than Traditional teaching, was a more effective instructional strategy for these students." AJ Richards points out it can be very helpful for physics instructors to develop and employ pedagogical techniques that help students to visualize and to reason productively about these concepts. A particularly effective strategy uses kinesthetic learning activities.

Proprioception, the kinesthetic sense, provides the parietal cortex of the brain with information on the movement and relative positions of the parts of the body. Neurologists test this sense by telling patients to close their eyes and touch their own nose with the tip of a finger. Assuming proper proprioceptive function, at no time will the person lose awareness of where the hand actually is, even though it is not being detected by any of the other senses. Proprioception and touch are related in subtle ways, and their impairment results in surprising and deep deficits in perception and action.

Facilitated communication is promoted as a means to assist people with severe communication disabilities in pointing to letters on an alphabet board, keyboard or other device so that they can communicate independently. It has also been called "supported typing", "progressive kinesthetic feedback", and "written output communication enhancement". It is related to the Rapid Prompting Method (RPM), also known as "informative pointing", which also has no evidence of efficacy. The person with disabilities, who is often unable to rely on speech to communicate, is called the communication partner, while the person holding their arm is called the facilitator.

Her proficiency has saved her and others several times. Honor has become proficient with the Grayson style of swordplay, involving a blade very similar to the katana, which by a quirk of history is used ceremonially by Steadholders and is the center of a martial art on Grayson. The sword style of the Graysons is derived from the film The Seven Samurai - presumably the Kurosawa version - the only recording of swordplay that existed on Grayson once their culture had devolved to the point where swords were desired. Honor has a mental block regarding mathematics, despite her high intelligence and kinesthetic aptitude.

This refinement occurs by separating senses into the 6 groups of auditory, visual, olfactory, kinesthetic, thought and metaphysical aspects of perception. The Atthasālinī (1, Part IV, Chapter 1. 118, 119) eleborates ekaggatā (in the context of sammā-samādhi): : This concentration, known as one-pointedness of mind, has non-scattering (of itself) or non-distraction (of associated states) as characteristic, the welding together of the coexistent states as function, as water kneads bath-powder into a paste, and peace of mind or knowledge as manifestation. For it has been said: 'He who is concentrated knows, sees according to the truth.

Students sitting in group desk placements are more likely to misbehave when the teacher isn't looking, like using iPads that are provided by the school, such as in the Cupertino Union School District. To avoid this the groups of desks should be arranged around the outside of the room giving the teacher plenty of room to walk around and supervise as well as providing room for kinesthetic activities that can be beneficial to the students learning. The final popular desk arrangement is the circle/semicircle placement. This particular desk setup is growing in popularity due to the numerous positive outcomes it provides.

This spindle-shaped receptor is sensitive to skin stretch, and contributes to the kinesthetic sense of and control of finger position and movement. They are at the highest density around the fingernails where they act in monitoring slippage of objects along the surface of the skin, allowing modulation of grip on an object . Ruffini corpuscles respond to sustained pressure and show very little adaptation. Ruffinian endings are located in the deep layers of the skin, and register mechanical deformation within joints, more specifically angle change, with a specificity of up to 2.75 degrees, as well as continuous pressure states.

Dalcroze eurhythmics, also known as the Dalcroze method or simply eurhythmics, is one of several developmental approaches including the Kodály method, Orff Schulwerk and Suzuki Method used to teach music to students. Eurhythmics was developed in the early 20th century by Swiss musician and educator Émile Jaques-Dalcroze. Dalcroze eurhythmics teaches concepts of rhythm, structure, and musical expression using movement, and is the concept for which Dalcroze is best known. It focuses on allowing the student to gain physical awareness and experience of music through training that takes place through all of the senses, particularly kinesthetic.

The teacher training programme moves lessons away from focusing on students' ability to remember and repeat facts; instead, it focuses on encouraging students to apply, analyse, and create based on what they remember. The programme trains teachers to create a culture of personalised learning, with greater student participation, cooperative learning activities, and exploration of ideas. Rather than simply relying on "chalk and talk" methods of standing at the front of the classroom, teachers are taught to interact with students, and to accommodate different learning needs – including those of pupils who learn best through visual, auditory, or kinesthetic methods.Stewart, William.

She was a student at the Performance Studies Department of New York University and earned her Ph.D. in 1981. Today, she uses her body and lecture as an instrument with which she demonstrates performance and kinesthetic principles. She is a Professor Emerita of dance studies at Temple University and is collaborating with Joan Myers Brown in writing a book and giving lectures about the Philadelphia Dance Company. Gottschild performs with her husband Hellmut Gottschild in a form of somatic and research-based collaboration they have dubbed “movement theater discourse.” Additionally, she is the Philadelphia correspondent for Dance Magazine.

Some painters, notably Cézanne, employ "warm" pigments (red, yellow and orange) to bring features forward towards the viewer, and "cool" ones (blue, violet, and blue-green) to indicate the part of a form that curves away from the picture plane. ; Accommodation : This is an oculomotor cue for depth perception. When we try to focus on far away objects, the ciliary muscles stretch the eye lens, making it thinner, and hence changing the focal length. The kinesthetic sensations of the contracting and relaxing ciliary muscles (intraocular muscles) is sent to the visual cortex where it is used for interpreting distance/depth.

Pedagogical resources (teacher's manual, simulator of observation, archives, kinesthetic activities) have been tested in teacher's training, secondary school level and also at undergraduate level. In America, the US HOU project is led by the United States with support from the National Science Foundation, the Department of Defense, and the Department of Energy. In the USA, HOU has developed and pilot tested an educational program that enables high school students to request their own observations from professional observatories. Students download telescope images to their classroom computers and use the powerful HOU image processing software to visualize and analyze their data.

David Worrall (born 25 October 1954 in Newcastle NSW) is an Australian composer and sound artist working a range of genres, including data sonification, sound sculpture and immersive polymedia (a term he coined in 1986) as well as traditional instrumental music composition.Following from the notion of polyphony, polymedia is a descriptive term to describe a genre of composition in which the simultaneous integration of different media are employed to transmit a polymodal 'message'. Such works rely on the functional integration of two or more of the aural, visual, tactile, kinesthetic, proprioceptive, etc. senses. VR (Virtual reality) environments are examples of immersive polymedia.

After leaving the Graham Company, Hawkins' work developed in a quite different direction. He moved away from esthetic visions based on realistic psychology, sociopolitical themes, storylines or musical portrayals, towards one inspired by ritual and mysticism that called upon dancers' kinesthetic responses to celebrate human, animal and other natural phenonmema. Major influences included Native-American dance rituals and folklore, Japanese esthetics and Zen, and various schools of dance, theater and philosophical thought from around the world, including East Asian and Ancient Greek classics. In some ways, he took dance in a similar direction that abstract painters were taking art, though he disliked the label 'abstract'.

Gardner's multiple intelligences theory recognises various forms of intelligence, namely spatial, linguistic, logical- mathematical, bodily-kinesthetic, musical, interpersonal, intrapersonal, naturalistic. Gardner's theory is discussed and cited in many of David A Sousa's 'How the Brain learns' series of books, including 'How the Gifted Brain learns' and 'How the Special Needs Brain Learns'. Areas of competence may be reinforcing, but also mutually exclusive. In today's society the link between IQ and education has weakened, but the idea of educated and intelligent has become synonymous, interchangeable and reinforced by verbalizers being better able to internalize information, advocate systems and design jobs that monetarily reward strengths, a cycle that is self- perpetuating.

Similarly, the first finger may reach a half-step down for the F, and 3rd and 4th fingers reach up for A and C respectively, as shown on the chart of Bornoff finger patterns on the left. (Pattern number 5 may be seen to be the same as pattern number 3, but a half step lower, or in "half position.") The lower chart on the left shows the arrangement of notes reachable in first position. Note well: left hand finger placement is a matter of the ears and hand, not the eyes, that is, it has strong aural and tactile/kinesthetic components, with visual references being only marginally useful.

Firstly, she extended the type of imagery used by her students and dancers in both choreographed and improvised dance beyond the anatomical and kinesthetic. This enabled her students and dancers to physicalize and embody a range of images, including entities, animals, and characters. Secondly, she prepared her dancers and students for practice, rehearsal, and performance using a technique comparable to guided meditation, guided imagery, and creative visualization, verbally suggesting images as the members of her ensemble or class lay still, becoming increasingly aware of their body prior to initiating movement. As a consequence, Fulkerson's approach to dance education has been described as a form of movement meditation.

Bartlett and Robertson were often praised for their unity of thought and execution. At their first appearance in Montreal in 1936, a reviewer for the Montreal Gazette expressed it thus: "The playing of Bartlett and Robertson is unique in that one thinks while hearing them, not of two people at two pianos, but of four hands at a double keyboard controlled by a single mind". A reviewer of their 1936 recital at the Orpheum Theatre in New York wrote: > From their first notes they brought to the audience an impression of > absolute synchronization and harmony of thought and concept. Their muscular > coordination was as though under one kinesthetic control.

A common myth in the field of education is that individuals have different learning styles, such as 'visual' or 'kinesthetic'. Many individuals will state preferences for the way in which they want to learn, but there is no evidence that matching a teaching technique to a preferred style will improve learning, despite this hypothesis being tested multiple times. There may even be harms associated with the use of learning styles, wherein learners become 'pigeonholed', perceiving that they may not be suited to types of learning that are not matched to their 'learning style' (e.g. so-called visual learners may not wish to learn music).

In both schools—one being all free-stroke (Giuliani arpeggio practice) and the other rest-stroke (Segovia scale practice) -- the basis for learning the technique is hours of repetition. In 1983, Richard Provost published his first edition of Classic Guitar Technique , outlining principles of scale and arpeggio technique based on his study of anatomy to make the 'inherent kinesthetic tendencies' ("our limitations") of the human body work for the player. Rather than working around them, the intention being production of "a musical, articulated sound within our physical limitations". A second revised edition of Provost's work (detailing further the author's theory), was published in 1992.

Later analyses have shown that the factorial procedures Guilford presented as evidence for his theory did not provide support for it, and that the test data that he claimed provided evidence against g did in fact exhibit the usual pattern of intercorrelations after correction for statistical artifacts.Jensen 1998, 77–78, 115–117Mackintosh 2011, 52, 239 More recently, Howard Gardner has developed the theory of multiple intelligences. He posits the existence of nine different and independent domains of intelligence, such as mathematical, linguistic, spatial, musical, bodily- kinesthetic, meta-cognitive, and existential intelligences, and contends that individuals who fail in some of them may excel in others.

His slide photography merges completely with the medium of cinema, a kinesthetic experience of color and motion that should be judged not by the design of a single slide (frame) but by the patterns of visual impulses.” Snyder created elaborate multimedia shows in which his hand-painted slides were combined with dancers and experimental films. Howard Junker wrote in The Nation: “Snyder’s film plus slide show ‘Epiphany’ beamed optically complex imagery onto translucent net screens dispersed by a moving wall of 3D projected and real white cubes in which black vinyl-clad dancers moved to disperse and fragment the 'magical' imagery. Many levels, very beautiful . . .

In the history of mental health treatment, art therapy (combining studies of psychology and art) emerged much later as a new field. This type of unconventional therapy is used to cultivate self-esteem and awareness, improve cognitive and motor abilities, resolve conflicts or stress, and inspire resilience in patients. It invites sensory, kinesthetic, perceptual, and sensory symbolization to address issues that verbal psychotherapy cannot reach. Although art therapy is a relatively young therapeutic discipline, its roots lie in the use of the arts in the 'moral treatment' of psychiatric patients in the late 18th century. Art therapy as a profession began in the mid-20th century, arising independently in English-speaking and European countries.

American baseball player, Babe Ruth Exhibiting well developed bodily kinasthetic intelligence will be reflected in a person's movements and how they use their physical body. Often people with high physical intelligence will have excellent hand-eye coordination and be very agile; they are precise and accurate in movement and can express themselves using their body. Gardner referred to the idea of natural skill and innate physical intelligence within his discussion of the autobiographical story of Babe Ruth – a legendary baseball player who, at 15, felt that he has been ‘born’ on the pitcher's mound. Individuals with a high body-kinesthetic, or physical intelligence, are likely to be successful in physical careers, including athletes, dancers, musicians, police officers, and soldiers.

Collisions generally only occur within one's assured clear distance ahead which are "unavoidable" to them such that they have zero comparative negligence including legal acts of god and abrupt unforeseeably wanton negligence by another party. Hazards which penetrate one's proximate edge of clear visibility and compromise their ACDA generally require evasive action. Drivers need not and are not required to precisely determine the maximum safe speed from real-time mathematical calculations of sight distances and stopping distances for their particular vehicle. Motor vehicle operators of average intelligence are constantly required to utilize their kinesthetic memory in all sorts of driving tasks including every time they brake to a full stop at a stop line in a panoply of conditions.

He believed the condition was caused by the failure to establish hemispheric dominance in the brain. reprinted: He also observed that the children he worked with were disproportionately left- or mixed-handed, although this finding has been difficult to replicate. Influenced by the kinesthetic work of Helen Keller and Grace Fernald, and looking for a way to teach reading using both left and right brain functions, Orton later worked with psychologist and educator Anna Gillingham to develop an educational intervention that pioneered the use of simultaneous multisensory instruction. Orton's 1937 book, hinged around the treatment of specific reading disabilities In contrast, Dearborn, Gates, Bennet and Blau considered a faulty guidance of the seeing mechanism to be the cause.

The Helpless Robot Subsequent robotic projects have included: "Facing Out Laying Low" (1977), a stationary interactive robot designed to react to interesting behaviour in the gallery space surrounding it, and "Funny Weather" (1983), a robotic artificial weather system with interacting wind generators and sensors. His early networked art piece "Telephonic Arm Wrestling" (1986, with Doug Back) used telephone data links to enable patrons to arm wrestle each other at a great distance. The work was performed in real time between the Canadian Cultural Centre in Paris, France and the Artculture Resource Centre in Toronto, Ontario, Canada. Some critics consider this piece to be a pioneering work in networked and long distance kinesthetic art.

According to Lusebrink: > The first three levels of the ETC reflect three established systems of human > information processing: the Kinesthetic/Sensory (K/S level); the > Perceptual/Affective (P/A level); and the Cognitive/Symbolic (C/S level) ... > The fourth level of the ETC is the Creative level (CR). It is seen as a > synthesis of the other three levels of the continuum. A diagram of the ETC, as pictured in the top right of the page, can be read from left to right and from the bottom, upwards. The model flows in a direction that travels from simple information processing and image formation to increasingly complex thought processes and interactions with the media.

In his book Student Successes With Thinking Maps, Dr. David Hyerle (2011) provides a plethora of reasons and research as to why Thinking Maps are beneficial tools for the classroom. Hyerle states that using the eight Thinking Maps promote metacognition and continuous cognitive development for students across their academic careers, as well as adds an artistic and kinesthetic component for students who learn effectively with that specific multiple intelligence (Hyerle, 2011). Lesson objectives can be covered in less time and with greater retention when using Thinking Maps, teachers can determine their students' background knowledge before teaching a unit or area of study, and student performance can be tracked over time in an accurate manner, too (Thinking Maps, Inc., 2011).

Villalon and Calvo's (2011) study illustrates that the use of concept maps are beneficial to even the oldest of learners in a college setting, and although precise Thinking Maps were not used in this study, the idea of a graphic organizer to "map out" thought processes is universal. In Thinking with Maps, Elisabeth Camp (2007) investigates how individuals think and how thinking is related to language. Camp (2007) states that "…thinking in maps is substantively different from thinking in sentences" (p. 155). This concept supports Hyerle's (2011) idea that Thinking Maps possess an artistic and kinesthetic component, where students can feel free to express their ideas in a "drawing," or map, instead of using complete written sentences.

Thinking Maps support learners who thrive with the artistic and kinesthetic multiple intelligences of learning. David Hyerle (1996) reports numerous success stories with the use of Thinking Maps in his article Thinking Maps: Seeing is Understanding. After teachers participated in a year-long professional development in the use and purpose of Thinking Maps, as well as integrated the maps into their curriculum during this training year, the "teachers agreed that the maps had successfully helped students develop their thinking processes and their ability to organize ideas, improved the quality and quantity of their writing, and also motivated them to learn. Further, the maps benefited the teachers by helping them organize content and assess student learning" (p. 88).

In the mid-1970s, the term "jam" appeared to describe, like jazz jam sessions and milongas in tango, a opportunity for free practice where dancers who do not know each other can meet and negotiate together their dance or observe the practice of their partners. > Every week in dozens of cities that make up an international network, > members of this Contact Improvisation "community of experience" meet for a > few hours in a dance studio for a jam. This hybrid practice seems to me to > work halfway between a bodily meditation, a psycho-kinesthetic therapy, a > sports training, and a dance improvised session.Deva Davina, "Some notes of > a contacter ethnographer", Nouvelles de danse, Vol.

Kinesthetic learning is at its best, BenZion found, when the learner uses language (their own words) in order to define, explain, resolve and sort out how their body's movement reflects the concept explored. One example is a student using movement to work out the sum of 1/2 plus 3/4 via movement, then explaining how their motions in space reflect the mathematical process leading to the correct answer. In addition, Denig (2004) in his article ‘Multiple Intelligences and Learning Styles: Two Complementary Dimensions’, presented Dunn and Dunn's Learning Styles Model, which addresses 21 elements that affect students’ learning. These elements are broken down into five stimuli: environmental, emotional, sociological, physiological and psychological variables.

The focus of Estill Voice Training is on the source and filter components of the vocal system and the interactions between them. Craft, Artistry and Performance Magic: Estill Voice Training separates the use of voice into the 'craft' of having control over the vocal mechanism, the 'artistry' of expression relative to the material and context, and the 'performance magic' of a speaker or singer connecting with their audience. Estill Voice Training has a focus on the 'craft' aspect and hence has also been known as Estill Voice Craft by some practitioners. Effort Levels: Estill Voice Training uses the identification and quantification of the level of work or 'effort' required for speaking and singing to help develop kinesthetic feedback.

In their book, The Viewpoints Book: A Practical Guide to Viewpoints and Composition, Anne Bogart and Tina Landau identify the primary Viewpoints as those relating to Time - which are Tempo, Duration, Kinesthetic Response, and Repetition - and those relating to Space - which are Shape, Gesture, Architecture, Spatial Relationship and Topography. In addition, Bogart and Landau have added the Vocal Viewpoints which include Pitch, Volume, and Timbre. In the book, the authors outline the basics of the Viewpoints training they both espouse as well as specific methods for applying the Viewpoints to both rehearsals and production. For Bogart and Landau, the Viewpoints represent not only a physical technique but also a philosophical, spiritual, and aesthetic approach to many aspects of their work.

Spinning tunnels depend upon creating sensory confusion between the kinesthetic system, the vestibular system and the visual system. The body's sense of the motion and the position of the limbs is provided by sensors in the joints, the semicircular canals within the inner ears provide sensory data for the head's position relative to the ground, and the eyes provide input concerning where the body is in relationship to its external environment. The spinning tunnel creates an optical illusion affecting the visual system that is in conflict with the other two sensory systems. Because vision is the most developed of the human senses, the visual system overrides the other sensory systems, causing the brain to believe that the bridge is moving.

Ball earned her A.B. from Columbia University in 1922. She then worked as an assistant in psychology for Karl Lashley at the University of Minnesota from 1923–1926. In 1926, Ball published her first paper in "The female sex cycle as a factor in learning in the rat," one of the first papers on the role of hormones in learning and memory. She also later published a study with Lashley, “Spinal conduction and kinesthetic sensitivity in the maze habit,” which demonstrated that rats trained to run a maze can still run the maze without afferent sensory input via the spinal cord. From January to June 1924, Ball accompanied Robert Yerkes on the University of California-sponsored trip to Cuba to visit Madame Rosalía Abreu’s primate colony.

The art historian Adam Weinberg has written that Seator's sculptural work had "a dramatic kinesthetic effect which may bring on vertigo." Seator also produced sculptural procedure-based process artworks, such as the sweep-action piece, Untitled Auditorium Installation (1993) at MoMA PS1 in Queens, NY, as well as the transformation of a townhouse he owned in the historical neighborhood of Vinegar Hill, Brooklyn into a work of installation art. Seator also created large panoramic photo-installations dealing with the landscape and "emptiness" of the desert; the vernacular architecture of Echo Park, Los Angeles and the pristine architectural storefronts of Beverly Hills, California. Seator's first solo exhibition was in New York, followed by major installations in Warsaw, Vienna, San Francisco, London and Basel.

"Program Faculty: Gary James Joynes" , Programs at The Banff Centre."Dirt", Film Collection - National Film Board of Canada. He is fascinated by the sources of electronic composition and the ever-evolving language of technology; objects and mechanisms stimulate his process. As Clinker, his work explores meditative spaces and the kinesthetic and synesthetic effects of sound and visuals. Recent work includes "On the Other Side..." a Live Cinema piece commissioned by the 2008 International Leonard Cohen Festival. A film score for the National Film Board of Canada's award-winning feature documentary "DIRT" was composed by Clinker and premiered at the Vancouver Doxa Festival in May 2008. His 2007 Live Cinema performance work "Provody" was selected to open the Mutek Festival 8TH. edition in Montreal.

Most teaching is geared to remediating specific areas of weakness, such as addressing difficulties with phonetic decoding by providing phonics-based tutoring. Some teaching is geared to specific reading skill areas, such as phonetic decoding; whereas other approaches are more comprehensive in scope, combining techniques to address basic skills along with strategies to improve comprehension and literary appreciation. Many programs are multisensory in design, meaning that instruction includes visual, auditory, and kinesthetic or tactile elements; as it is generally believed that such forms of instruction are more effective for dyslexic learners. Despite claims of some programs to be "research based", there is very little empirical or quantitative research supporting the use of any particular approach to reading instruction as compared to another when used with dyslexic children.

Gardner argued that there are eight intelligences, or different areas in which people assimilate or learn about the world around them: interpersonal, intrapersonal, bodily-kinesthetic, linguistic, logical- mathematical, musical, naturalistic, and spatial-visual. The most common criticism of Gardner's MI theory is "the belief by scholars that each of the seven multiple intelligences is in fact a cognitive style rather than a stand- alone construct". Others consider the theory not to be sufficiently empirical. This perspective has also been criticized on the grounds that it is ad hoc: that Gardner is not expanding the definition of the word "intelligence", but rather denies the existence of intelligence as traditionally understood, and instead uses the word "intelligence" where other people have traditionally used words like "ability" and "aptitude".

This was also the first university to develop dance courses. In 1926, she collaborated with Dean Sellery and the faculty of the School of Education to develop the first curriculum establishing dance as a major. Her approach to dance education was to "enable each individual to live as fully as possible" and believed the "educational process must be based upon scientific facts concerning the nature of human life". In her thinking and teaching, she advocated focusing on kinesthetic awareness in terms of three phases: (1.) feedback, which she describes as bringing information from the muscles, joints, and tendons; (2.) associative, which takes place exclusively in the brain; and (3.) feed-forward, the process of sending messages back to the muscles.

Audism can be closely linked to the term linguicism, or ideologies that pertain to the way in which an institution is facilitated and regulated in favor of a dominant culture through the basis of language. Linguicism highlights spoken language to be a part of the dominant culture and signed languages to be of the minority culture, expanding that those who use spoken language are provided with more accessible economic, social and political resources which give them an advantage over those who use signed languages.Deaf Gain: Raising the Stakes for Human Diversity Audism is linked to phonocentric values in defining linguistics. Linguistic terminology has been determined by sound based methodologies, for instance the concept of linearity in spoken languages fails to recognize the grammatical structures of visual-manual-kinesthetic based languages.

This gives the swimmer considerably more forward propulsion from the arm stroke than does a naked hand, and affords an enhanced kinesthetic "feel" of the pull. It also enhances the swimmer's feel of the "catch", the phase prior to the pull, where the hand turns from a streamlined position to grasp the water and begin the pull. If the hand catches or pulls at an incorrect angle, the increased resistance afforded by the hand paddle will exacerbate the resultant twisting moment, making the defect clearer to the swimmer. The considerably increased load imposed by the hand paddle on the arm and shoulder can, however, lead to pain and an increased risk of injury, so coaches advise only limited use of paddles and that use be discontinued if the swimmer feels shoulder pain.

To demonstrate using a real-life scenario: people learning to drive manual transmission might first have to demonstrate their mastery on the "rules of the road," safety, defensive driving, parallel parking, etc. In this manner, they can focus on two independent competencies – "using the clutch, brake with right foot" and "shifting up and down through the gears." Once the learners have demonstrated that they are comfortable with those two skills, the next overarching skill that needs to be learned might be "finding first: from full stop to a slow roll" followed by "sudden stops," "shifting up" and "down shifting." Because this is kinesthetic learning, the instructor likely would demonstrate the skill to the learner a few times after which the student can perform guided practice followed by independent practice until mastery is demonstrated.

Convergent disciplines of neuroanthropology, ethnomusicology, electroencephalography (EEG), neurotheology and cognitive neuroscience, amongst others, are conducting research into the trance induction of altered states of consciousness resulting from neuron entrainment with the driving of sensory modalities, for example polyharmonics, multiphonics, and percussive polyrhythms through the channel of the auditory and kinesthetic modality. Neuroanthropology and cognitive neuroscience are conducting research into the trance induction of altered states of consciousness (possibly engendering higher consciousness) resulting from neuron firing entrainment with these polyharmonics and multiphonics. Related research has been conducted into neural entraining with percussive polyrhythms. The timbre of traditional singing bowls and their polyrhythms and multiphonics are considered meditative and calming, and the harmony inducing effects of this tool to potentially alter consciousness are being explored by scientists, medical professionals and therapists.

Mnemonics aid original information in becoming associated with something more accessible or meaningful—which, in turn, provides better retention of the information. Commonly encountered mnemonics are often used for lists and in auditory form, such as short poems, acronyms, initialisms, or memorable phrases, but mnemonics can also be used for other types of information and in visual or kinesthetic forms. Their use is based on the observation that the human mind more easily remembers spatial, personal, surprising, physical, sexual, humorous, or otherwise "relatable" information, rather than more abstract or impersonal forms of information. The word "mnemonic" is derived from the Ancient Greek word μνημονικός (mnēmonikos), meaning "of memory, or relating to memory" and is related to Mnemosyne ("remembrance"), the name of the goddess of memory in Greek mythology.

Redesigning the classroom involves locating dividers that can be used to arrange the room creatively (such as having different learning stations and instructional areas), clearing the floor area, and incorporating student thoughts and ideas into the design of the classroom. Dunn and Dunn's "contract activity packages" are educational plans that use: a clear statement of the learning need; multisensory resources (auditory, visual, tactile, kinesthetic); activities through which the newly mastered information can be used creatively; the sharing of creative projects within small groups; at least three small-group techniques; a pre-test, a self-test, and a post-test. Another scholar who believes that learning styles should have an effect on the classroom is Marilee Sprenger in Differentiation through Learning Styles and Memory. She bases her work on three premises: #Teachers can be learners, and learners teachers.

Her early development of expressing the unconscious through movement, emotion, and thought functions place her as precursor to the modern Expressive Therapies Continuum. Cane’s progressive ideas drew on the importance of art being a complex process that serves as a holistic experience. She believed that the movement beyond the typical stationary range would invoke the artwork with more meaning. She further elaborated the use of movement in her article (Cane, 1931a) by saying that the “kinesthetic sense is the link between conceiving and doing” and “the finger tips are…the last delicate part to convey the message of the mind to the paper…(carrying) the whole burden.” She insisted that the lack of movement expression could block the artist's creative capabilities, and insisted on finding balance between the three functions for better wholeness and sense of self.

Neil Greenberg (born April 17, 1959) is an American dancer, post-modern choreographer, and educator. He danced with the Merce Cunningham Dance Company for seven years, from 1979-1986 before establishing his own company, Dance by Neil Greenberg in 1986. Greenberg's work is characterized by a "choreographic lexicon that integrates kinesthetic, emotional, and cognitive ways of knowing and representing the world and the self".) Within this framework, Greenberg's work deals with the queer male body dancing, a theme that has been implicit throughout his dance making and began to become explicitly identified starting with Quartet for Three Gay Men (2006) and extending into his subsequent dances. Much of the movement in his choreography is based on improvisation and is reflective of his in depth study of somatic techniques, such as Body/Mind Centering, Klein Technique, and Alexander Technique.

During the early 1950s, Charles H. Zimmerman of the National Advisory Committee for Aeronautics (NACA) developed a system for control of a rotorcraft in which, with the rotors mounted on the underside of the aircraft, the machine could be steered by the pilot through the simple shifting of his weight, and kept stable through the actions of his natural reflexes. Known as kinesthetic control, and similar in principle to the mechanics of riding a bicycle or a surfboard,Hiller Aviation Museum it was hoped that the concept would allow for pilots to operate an aircraft with little to no training time. NACA testing proved that the idea had merit, and several companies, including Bensen Aircraft, Hiller Aircraft, and de Lackner Helicopters, began development of rotorcraft using the concept. The concept proposed by de Lackner Helicopters was a one-man flying platform, and it received the company designation "DH-4".

In the early 2000s, the rising popularity of women's solo dance styles as forms of creative fitness prompted the development of fast-track methods for teaching dance. Among the first dance fitness promoters, Neon based her courses on clear categorization of dance vocabulary, syntax and semantics, and borrowed from the language instruction techniques that stimulate intuitive discovery of patterns in a system of communication (such as in the Rosetta Stone and Berlitz instructional methods). Working with two- and three-dimensional trajectory visualizations and motor imagery she designed sequences of instructional cues and shortcuts that help learners with varying kinesthetic and space visualization abilities find correct movement trajectories without prolonged mechanical repetition. Neon's dance instruction programs and instructional method recommended in Pleasurable Movement Guides section To promote the accelerated-learning dance class format, Neon introduced visualization-based learning tools in her dance instruction video programs, including 3-D graphic overlays on a dance instructor's moving image tracking directions and shapes of movement trajectories.

Neil Fleming's VARK model and inventory expanded upon earlier notions of sensory modalities such as the VAK model of Barbe and colleagues and the representational systems (VAKOG) in neuro-linguistic programming. The four sensory modalities in Fleming's model are: # Visual learning # Auditory learning # Physical learning # Social learning Fleming claimed that visual learners have a preference for seeing (visual aids that represent ideas using methods other than words, such as graphs, charts, diagrams, symbols, etc.). Subsequent neuroimaging research has suggested that visual learners convert words into images in the brain and vice versa, Also reported in: but some psychologists have argued that this "is not an instance of learning styles, rather, it is an instance of ability appearing as a style". Likewise, Fleming claimed that auditory learners best learn through listening (lectures, discussions, tapes, etc.), and tactile/kinesthetic learners prefer to learn via experience—moving, touching, and doing (active exploration of the world, science projects, experiments, etc.).

A brass, spherical Helmholtz resonator based on his original design, circa 1890–1900 The latter 19th century saw the development of modern music psychology alongside the emergence of a general empirical psychology, one which passed through similar stages of development. The first was structuralist psychology, led by Wilhelm Wundt, which sought to break down experience into its smallest definable parts. This expanded upon previous centuries of acoustic study, and included Helmholtz developing the resonator to isolate and understand pure and complex tones and their perception, the philosopher Carl Stumpf using church organs and his own musical experience to explore timbre and absolute pitch, and Wundt himself associating the experience of rhythm with kinesthetic tension and relaxation. As structuralism gave way to Gestalt psychology and behaviorism at the turn of the century, music psychology moved beyond the study of isolated tones and elements to the perception of their inter-relationships and human reactions to them, though work languished behind that of visual perception.

For example, Gardner contends that a successful career in professional sports or popular music reflects bodily-kinesthetic intelligence and musical intelligence, respectively, even though one might usually talk of athletic and musical skills, talents, or abilities instead. Another criticism of Gardner's theory is that many of his purportedly independent domains of intelligence are in fact correlated with each other. Responding to empirical analyses showing correlations between the domains, Gardner has argued that the correlations exist because of the common format of tests and because all tests require linguistic and logical skills. His critics have in turn pointed out that not all IQ tests are administered in the paper-and-pencil format, that aside from linguistic and logical abilities, IQ test batteries contain also measures of, for example, spatial abilities, and that elementary cognitive tasks (for example, inspection time and reaction time) that do not involve linguistic or logical reasoning correlate with conventional IQ batteries, too.Jensen 1998, 128–132Deary 2001, 15–16Mackintosh 2011, 236–237 Robert Sternberg, working with various colleagues, has also suggested that intelligence has dimensions independent of g.

As we have recognized that there are multiple learning styles which better suit some students, some are text oriented, others are visual, kinesthetic, auditory, or a combination of two or more, developers of educational materials have adapted and made use of new media and technology. In 1989, there was a call for new curriculum in social studies, which was uniquely suited to bringing visual information to educational programs by introducing map reading skills, charts and graphs for analyzing data, primary source visuals from the period ephemera, and paintings, sculpture, architecture, objects of daily use, and other evidence of material culture that is the archive from which historians draw their information about past and present cultures. Materials that were embraced for their visual energy, authenticity, and characteristic interest to engage students were prepared by a research and development group named Ligature, whose design director, Josef Godlewski (July 3, 1948 – April 8, 2013), a teacher of graphic design at The Rhode Island School of Design, brought to what is now the accepted integration of visuals with text that we see in print and media board learning programs.

Giorgio Agamben (2002) describes paradigms as things that we think with, rather than things we think about. Like the computer age, the postdigital is also a paradigm, but as with post-humanism for example, an understanding of postdigital does not aim to describe a life after digital, but rather attempts to describe the present-day opportunity to explore the consequences of the digital and of the computer age. While the computer age has enhanced human capacity with inviting and uncanny prosthetics, the postdigital may provide a paradigm with which it is possible to examine and understand this enhancement. In The Future of Art in a Postdigital Age Mel Alexenberg defines "postdigital art" as artworks that address the humanization of digital technologies through interplay between digital, biological, cultural, and spiritual systems, between cyberspace and real space, between embodied media and mixed reality in social and physical communication, between high tech and high touch experiences, between visual, haptic, auditory, and kinesthetic media experiences, between virtual and augmented reality, between roots and globalization, between autoethnography and community narrative, and between web-enabled peer-produced wikiart and artworks created with alternative media through participation, interaction, and collaboration in which the role of the artist is redefined.