著者

宮田 舞 山内 保典 岡田 猛

出版者

日本教育工学会

雑誌

日本教育工学会研究報告集

巻号頁・発行日

vol.3, pp.55-62, 2014-07-05

著者

横地 早和子 岡田 猛

出版者

日本認知科学会

雑誌

認知科学 = Cognitive studies : bulletin of the Japanese Cognitive Science Society (ISSN:13417924)

巻号頁・発行日

vol.14, no.3, pp.437-454, 2007-09-01

被引用文献数

8

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This study investigated the creative expertise of artists who had been making art for many years. In an initial study, we interviewed four artists at different stages of their careers about their previous artworks to investigate how they made them and how they changed in the course of their making. We asked, for instance, about their concept of each artwork, when and how a new series of artworks emerged, and so on. It was revealed that experienced artists formed their artistic vision (i.e., their long-term intention or main theme related to making art) after changing series of artwork several times, and then created artworks based on it. On the other hand, younger artists did not recognize their artistic vision yet, making artworks based on their temporary interests. In a second study, nine professional artists with more than 10 years of experience were interviewed about their whole body of artworks to identify how they became creative experts and how their artistic vision was formed. As a result, it appeared that there are three periods in creative expertise: the first is “being constrained to external criteria”; the second is “forming their own internal criteria”; and the third is “generating harmonious creations with the artistic vision.” In sum, when the artists were young, they made artworks based on external criteria. Later on, they recognized the limitations of this approach, and started to focus on internal criteria. Finally, on average about 13 years after beginning their artistic careers and creating several series of artworks, artists formed a personal artistic vision. At that point they were confidently able to make original artworks.

著者

石黒 千晶 岡田 猛

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.20, no.1, pp.90-111, 2013-03-01 (Released:2014-11-20)

参考文献数

36

被引用文献数

4

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The creation of a work of art is indicated to result from expressive awareness,achieved as the artist matches images and methods. This study examined how novices, who tend to produce artistic expressions reproductively, acquire such expressive awareness over several weeks of practice of photography. We conducted case studies with two con-ditions: 1) one participant took photographs and reflected on her own work; 2) one participant imitated eminent works of creative expression in the domain and reflected on her own work. The results showed that the participants acquired expressive aware-ness in both conditions, but the scope of the expressive awareness was different. The participant who practiced only reflection on her own work started to focus on precise methods of expression, while the participant who practiced imitation as well as reflec-tion started to produce creative expressions and tried consciously to control her creative processes. The findings of this study are potentially useful for developing educational practice in art schools.

著者

山内 保典 岡田 猛

出版者

日本認知科学会

雑誌

認知科学 = Cognitive studies : bulletin of the Japanese Cognitive Science Society (ISSN:13417924)

巻号頁・発行日

vol.10, no.3, pp.418-435, 2003-09-01

参考文献数

44

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Cognitive science research on scientific thinking is a rising approach in studies of science (i.e., meta-science such as philosophy and sociology of science), and has made important contributions to explaining scientific discovery processes. In this study, we first point out that construction processes of a Validity-Boundary (V.B.) are appropriate for studies in cognitive science. A V.B. serves as a criterion for an academic community to judge whether a new study is valid or not. In this sense, a V.B. constrains activities for generating new scientific knowledge. Research in science studies has suggested that scientists construct a V.B. through daily academic activities. Therefore, investigating the contents and construction processes of a V.B. is essential to fully understand scientific activity. Second, based on formal logic, we propose a framework for studying the construction processes of a V.B. Analysis of counterarguments in academic discussions using this framework suggest that there are several patterns of V.B. construction processes.

著者

清水 大地 岡田 猛

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.22, no.1, pp.203-211, 2015-03-01 (Released:2015-09-15)

参考文献数

15

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Focusing on the process of a dancer’s acquisition of a new technique in breakdance,,“Inside Ninety”, this longitudinal case study aims to disclose the process of skill acqui-sition through practice. We conducted a fieldwork study (participant observation andinterviews) to analyze the dancer’s endeavours to acquire and improve skills. By avoid-ing the specification of goals and movements by the researchers, as is often the case in experimental settings, we observed the development of movements in each practicesession. The results indicate that the process of acquisition of a new dance techniqueconsists not only of the refinement of a particular skill, but also of two other activities;the exploration of new and original skill utilizing the characters of a particular skill, and the arrangement of that skill so that it should fit into his full performance. Theprocess of an expert’s acquisition of a particular technique is a complicated and creativeone, integrating each skill into a full performance.

著者

清水 大地 岡田 猛

出版者

人工知能学会

雑誌

人工知能学会全国大会論文集 (ISSN:13479881)

巻号頁・発行日

vol.27, 2013

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本研究ではブレイクダンスにおける特定の踊り(技)の習得過程に注目し,エキスパートダンサーを対象とした長期のフィールドワーク,インタビューによる縦断的検討を行った.インタビュー回答や映像の分析より,複数のスランプを経て踊りの質を向上させたこと,スランプでは身体の使い方を試行錯誤し新しい使い方を発見したこと,その踊りにおける身体動作を利用して新しい踊りを随時創作したことが示された.

著者

野村 亮太 岡田 猛

出版者

Japanese Cognitive Science Society

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.21, no.2, pp.226-244, 2014

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How do expert storytelling artists captivate audiences with a single performance? In<br/> study 1, we observed the eyeblink responses of expertized 7 of 20 audience members<br/> (10 male and 10 female, aged 16 to 67 years; <i>M </i>=40<i>.</i>6, <i>SD </i>=16<i>.</i>4) at the performance<br/> of two professional story-telling Rakugo artists. With using a surrogate data method,<br/>the statistically significant synchronization of eyeblinks among audience members was<br/> detected when performers changed scenes and characters and immediately after the<br/> performer delivered words essential to the understanding of the story. In study 2, we<br/> conducted a laboratory experiment with 32 (19 male and 13 female) participants aged<br/> 20 to 34 years (<i>M </i>=22<i>.</i>56, <i>SD </i>=2<i>.</i>85) to examine whether the expertise of the story-<br/>teller affected the frequency and intensity of synchronization of eyeblinks by recording<br/> each participant's eyeblinks. The synchronization of eyeblinks was also detected in this<br/> study that each participant viewed videotapes alone, which eliminated potential au-<br/>dience interaction. The participants who were assigned to the watching a videotaped<br/> performance of an expert storyteller displayed frequent synchronized eyeblinks and had<br/> a higher score of transportation into the narrative world of Rakugo compared to those<br/> were assigned to watch a videotaped performance of a novice. These results imply<br/> that expert performers gain a listener's unintentional process of attention as well as<br/> somatic-emotional responses, evidenced by synchronized eyeblinks.

著者

縣 拓充 岡田 猛

出版者

美術科教育学会

雑誌

美術教育学 : 美術科教育学会誌 (ISSN:0917771X)

巻号頁・発行日

no.30, pp.1-14, 2009-03-21

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本研究では,美術創作をより身近に感じさせる可能性を持った美術展示の方法として,「アーティストが美術創作を専門的に学んでいない学生と関わって作り上げたコラボレーション作品の展示」,及び,「創作プロセスに関する情報の展示」を提案し,それが来館者に及ぼす効果を検討した。展示効果の測定は,質問紙調査と鑑賞中の会話とを組み合わせて行った。その結果,1)コラボレーション作品の展示は,アーティストのパーソナリティに対するステレオタイプを緩和し,創作への動機づけを刺激する可能性を持っていること,2)プロセス情報の展示は,創造の天才神話を緩和し,アーティストに親近感を抱かせる効果があることが明らかになった。

著者

山内 保典 岡田 猛

出版者

科学技術社会論学会

雑誌

科学技術社会論研究 (ISSN:13475843)

巻号頁・発行日

no.4, pp.101-117, 2006-06

著者

企画代表者(Representative Organizer):野村 理朗話題提供者(Speaker):野村 理朗 小池 光 田中 美吏 高橋 英之指定討論者(Discussant):岡田 猛司会者(Chair):野村 理朗

雑誌

日本心理学会第87回大会

巻号頁・発行日

2023-08-03

著者

岡田 猛 横地 早和子 石橋 健太郎

出版者

一般社団法人 人工知能学会

雑誌

人工知能 (ISSN:21882266)

巻号頁・発行日

vol.19, no.2, pp.214-221, 2004-03-01 (Released:2020-09-29)

著者

山内 保典 岡田 猛

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.10, no.3, pp.418-435, 2003-09-01 (Released:2008-10-03)

参考文献数

46

被引用文献数

3

---

Cognitive science research on scientific thinking is a rising approach in studies of science (i.e., meta-science such as philosophy and sociology of science), and has made important contributions to explaining scientific discovery processes. In this study, we first point out that construction processes of a Validity-Boundary (V.B.) are appropriate for studies in cognitive science. A V.B. serves as a criterion for an academic community to judge whether a new study is valid or not. In this sense, a V.B. constrains activities for generating new scientific knowledge. Research in science studies has suggested that scientists construct a V.B. through daily academic activities. Therefore, investigating the contents and construction processes of a V.B. is essential to fully understand scientific activity. Second, based on formal logic, we propose a framework for studying the construction processes of a V.B. Analysis of counterarguments in academic discussions using this framework suggest that there are several patterns of V.B. construction processes.

著者

清水 大地 岡田 猛

出版者

一般社団法人 人工知能学会

雑誌

人工知能学会全国大会論文集 第28回 (2014) (ISSN:27587347)

巻号頁・発行日

pp.1M5OS05b3i, 2014 (Released:2018-07-30)

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本研究ではブレイクダンスにおけるバトルというパフォーマンス場面を対象とし,ダンサーが交代して披露し合うことによって踊りに生じる変化を検討した.エキスパートのバトル映像を対象とし,領域で重要とされる「踊りの4要素」といった観点から,クラスター分析等による検討を行った.結果として,踊り方に数種類のスタイルが見られ,同一のダンサーでも踊り合いを通して踊りのスタイルが変化していったことが示された.

著者

高田 由利子 石黒 千晶 岡田 猛

出版者

日本音楽知覚認知学会

雑誌

音楽知覚認知研究 (ISSN:1342856X)

巻号頁・発行日

vol.25, no.1, pp.21-28, 2019 (Released:2020-06-06)

参考文献数

17

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演奏者は作曲家の意図や演奏者自らの意図や,聴衆への伝わりやすさなどを省察しながら練習を重ねる。本研究の目的は,音大生のような学習者の表現の自覚性を測定する心理尺度を開発することである。音楽教育家と心理学者が共同して,演奏表現の特徴を踏まえた演奏表現の自覚性尺度を作成し,音楽学科に所属する 180名の大学生を対象に質問紙を実施した。その結果,演奏表現の自覚性尺度は聴衆への伝達性,演奏者の表現意図と表現方法の調和性,楽譜への忠実性という 3因子からなることが示された。また,各因子に十分な信頼性が確認された(αs>.70)。この尺度は音楽演奏の学習過程を理解する上で役立つ。

著者

尾﨑 研一郎 寺中 智 岡田 猛司 水口 俊介

出版者

一般社団法人 日本老年歯科医学会

雑誌

老年歯科医学 (ISSN:09143866)

巻号頁・発行日

vol.33, no.1, pp.17-24, 2018-06-30 (Released:2018-07-25)

参考文献数

24

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当歯科はリハビリテーション科(リハビリ科)を起点として医科歯科連携を行っており,対象は主に入院患者である。今回,当歯科での活動報告として開設した2010年10月から2011年1月までの間にリハビリ科依頼となった急性期入院患者への口腔内検診の結果と2010年10月から2016年3月までの間に歯科介入した入院患者の実績について,診療録と当科データベースより後ろ向きに調査した。開設後の4カ月間に行った急性期におけるリハビリ科依頼患者への口腔内検診の結果,歯科介入の必要性は404人中259人(64%)であることが分かった。次に開設から5年5カ月の間に歯科介入した患者数は男性2,554人,女性1,829人(平均年齢72±13歳)であった。原疾患は呼吸器疾患755人(17%),脳血管障害746人(17%),消化器疾患593人(14%)と続いた。主な歯科介入の内容は口腔衛生管理2,668人(61%),義歯治療910人(21%),処方を要する粘膜治療426人(10%),保存治療212人(5%),抜歯145人(3%)であった。口腔内検診の結果より,急性期におけるリハビリ科依頼患者の約6割に歯科介入の必要性があり,歯科ニーズが潜在していることが明らかになった。歯科介入の内容は口腔衛生管理が最も多かったが,介入の内容は多岐にわたっていた。

著者

清水 大地 岡田 猛

出版者

Japanese Cognitive Science Society

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.20, no.4, pp.421-438, 2013-12-01 (Released:2014-12-24)

参考文献数

43

被引用文献数

2

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This paper aims to study the creative process of collaborative improvisation, which has rarely been the subject of cognitive science research. The special focus is on how a dancer’s improvisational process is influenced by another dancer’s performance. Bat-tle performances of street dance are chosen as the target performances of this study and contrasted with solo performances, because in battle situations dancers have to generate their original expressions in a highly improvised manner. We conducted an experimental study, aiming to investigate both the cognitive process of dancers and the characteristic features of their dance performances. The three main results are as follows: 1) The generation frequency of new dance movements was not different be-tween solo and battle dance performances. 2) The generation process of a dancer’s new dance movements was influenced by another dancer’s performance. In the battle per-formances, dancers generated new dance movements by combining several movements that they had already acquired, while they generated new movements by only changing some parts of their acquired dance movements in the solo performances. 3) In the battle performances, as distinct from the solo dance performances, dancers generated their dance movements by adopting movements of another dancers and changing the structures of their movements. These features resulted in differences in the processes of generating new patterns.

著者

清水 大地 岡田 猛

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.19, no.2, pp.240-243, 2012 (Released:2014-07-22)

参考文献数

5

著者

清水 大地 岡田 猛

出版者

一般社団法人 人工知能学会

雑誌

人工知能学会全国大会論文集

巻号頁・発行日

vol.2020, pp.4E3OS19b02, 2020

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<p>音楽やダンスといった上演芸術において、演者は互いに活発なインタラクションを営みながら魅力的な表現を披露する。そのインタラクションに上演芸術の社会的起源を見出す指摘も数多い。一方でその過程・様相に関する実証的検討は数少なく、主に協働場面における関わりに焦点を当てた検討がなされてきた。本研究では、ブレイクダンスのバトル場面という競争場面に焦点を当て、その場面で生じる演者間の関わりについて同期理論の枠組みを応用した検討を行った。バトルを行う2名の演者のリズム運動を演者ごとにモーションキャプチャーシステムにより測定し、演者間のリズム運動の協調関係を位相解析(ヒルベルト変換を利用)により検討した。結果として、両演者が逆位相同期に該当する協調関係(互いに反対のタイミングでリズム運動を実施する協調関係)を構築しながらパフォーマンスを行っていたこと、バトルの進行に応じてその協調を動的に変更していたこと、が示唆された。</p>

著者

高木 紀久子 岡田 猛 横地 早和子

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.20, no.1, pp.59-78, 2013-03-01 (Released:2014-11-20)

参考文献数

36

被引用文献数

10

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When producing a new series of artworks, how does the artist form an art concept? In order to capture this formation process, we conducted a case study of a contemporary artist. We interviewed the artist about his creation process once per three weeks for about ten months. During that period, in order to develop his art concept, the artist first drew his ideas on paper and then took photographs to collect visual information. After these two phases, he began the hands-on creation of the artworks. As he discovered the core part of his new art concept during the photography phase, we analyzed the photographs and interview data collected during this phase. The results show that the visual information collected through the photography led to his discovery of sub-components of his art concept.

著者

石橋 健太郎 岡田 猛

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.11, no.1, pp.51-59, 2004 (Released:2007-04-13)

参考文献数

21

被引用文献数

5

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According to Arnheim (1977), the perception of artworks means our total experience in our interaction with them. From this point of view, people can interact with artworks in various ways such as looking, copying, and reading reviews on the artworks. Different ways of interaction with artworks provide different kind of perceptual experiences. In this paper, we focused on the copying of artists' works and proposed the hypothesis that copying encourages the copiers' creativity as well as their acquiring knowledge of the artworks. We presumed that copying has the following two aspects: (1) understanding others and (2) understanding oneself. In the former aspect, the knowledge about the artistic products (to be copied) would be deepened by means of inferring the art making processes. In the latter aspect, the copiers' own taste for expression may become clarified by means of comparisons with others' artworks. Thus, the latter aspect is particularly important for creativity, because it might facilitate the copier's ability to produce her/his own original artworks. Our recent experiment (Ishibashi & Okada, 2003) revealed that copying facilitated students' creativity for drawing. Some of the verbal protocols in the copying session of the experiment indicate that the students participated in these two aspects of copying processes.