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The similarities between traditional games in different regions of the world, from past to present, arouse both awe and curiosity. The playful - yet educational - discovery of these practices offers the opportunity to observe the experience of play as a space for similarities between cultures. When research on play conducted with children is enriched by the recollections of play from parents and grandparents, especially in the context of a multicultural classroom, a choral narrative emerges, laying down the basis for intercultural education. Children discover the 'shared space of play', where they can meet and relish, together with teachers, the richness of cultural diversity, and also learn more about prejudice and Othering processes.
Beginning to Play explores the young child’s right to a high quality, multi-sensory play environment where play really can begin. It builds on Goldschmied’s concept of Treasure Basket play, which involves a wide variety of everyday objects gathered together to stimulate all five senses of babies and young children. The book features detailed observations of babies beginning to play at and beyond the treasure basket. These observations support readers in offering rich play materials and experiences.
Is "space" a thing, a container, an abstraction, a metaphor, or a social construct? This much is certain: space is part and parcel of the theater, of what it is and how it works. In The Play of Space, noted classicist-director Rush Rehm offers a strikingly original approach to the spatial parameters of Greek tragedy as performed in the open-air theater of Dionysus. Emphasizing the interplay between natural place and fictional setting, between the world visible to the audience and that evoked by individual tragedies, Rehm argues for an ecology of the ancient theater, one that "nests" fifth-century theatrical space within other significant social, political, and religious spaces of Athens. Drawing on the work of James J. Gibson, Kurt Lewin, and Michel Foucault, Rehm crosses a range of disciplines--classics, theater studies, cognitive psychology, archaeology and architectural history, cultural studies, and performance theory--to analyze the phenomenology of space and its transformations in the plays of Aeschylus, Sophocles, and Euripides. His discussion of Athenian theatrical and spatial practice challenges the contemporary view that space represents a "text" to be read, or constitutes a site of structural dualities (e.g., outside-inside, public-private, nature-culture). Chapters on specific tragedies explore the spatial dynamics of homecoming ("space for returns"); the opposed constraints of exile ("eremetic space" devoid of normal community); the power of bodies in extremis to transform their theatrical environment ("space and the body"); the portrayal of characters on the margin ("space and the other"); and the tragic interactions of space and temporality ("space, time, and memory"). An appendix surveys pre-Socratic thought on space and motion, related ideas of Plato and Aristotle, and, as pertinent, later views on space developed by Newton, Leibniz, Descartes, Kant, and Einstein. Eloquently written and with Greek texts deftly translated, this book yields rich new insights into our oldest surviving drama.
For organizations that care about innovation, individual creativity isn't enough anymore -- people need to be in creative, collaborative relationships. But without the knowledge and tools for building these relationships, innovation expert Michael Schrage argues, one will not be successful in the offices of today and even less so in the "virtual" offices of tomorrow. No More Teams gives readers the tools and techniques to go beyond the lazy cliches of "teamwork" to the practical benefits of collaboration. When Schrage studied the world's greatest collaborations -- including Wozniak and Jobs, Picasso and Braque, Watson and Crick -- he found that instead of relying on charisma, they all created "shared spaces" where they could play with their ideas. By effectively using technological tools available in most workplaces -- anything from a felt tip pen and a napkin to specialized computer software - -you can literally map your discussion as it is happening, making it possible to keep all the good ideas, cope with every objection, handle conflicts as they arise, and, ultimately, master the unknown.
Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff R. Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices.
In this volume, architects, artists, theorists, three symposia and four exhibitions attempt to find answers to questions such as: Could the architectonic study and/or deconstruction of space play a decisive role in the shift of attention to space?, and: What is the role of the aesthetization of the environment on our concept of space?
A game designer considers the experience of play, why games have rules, and the relationship of play and narrative. The impulse toward play is very ancient, not only pre-cultural but pre-human; zoologists have identified play behaviors in turtles and in chimpanzees. Games have existed since antiquity; 5,000-year-old board games have been recovered from Egyptian tombs. And yet we still lack a critical language for thinking about play. Game designers are better at answering small questions ("Why is this battle boring?") than big ones ("What does this game mean?"). In this book, the game designer Brian Upton analyzes the experience of play--how playful activities unfold from moment to moment and how the rules we adopt constrain that unfolding. Drawing on games that range from Monopoly to Dungeons & Dragons to Guitar Hero, Upton develops a framework for understanding play, introducing a set of critical tools that can help us analyze games and game designs and identify ways in which they succeed or fail.
Collective creation - the practice of collaboratively devising works of performance - rose to prominence not simply as a performance making method, but as an institutional model. By examining theatre practices in Europe and North America, this book explores collective creation's roots in the theatrical experiments of the early twentieth century.
"An inspiring, insightful read about how to overcome insecurities, build bonds, and break barriers. There’s no bigger childhood dream than becoming an astronaut, and there’s no bigger adult aspiration than becoming more like Cady Coleman. This is an inside look at what it’s like to be in outer space—and a guide to leading a meaningful life." —Adam Grant, #1 New York Times bestselling author of Hidden Potential and Think Again In 2010, Cady Coleman boarded a rocket and blasted off into space for her third NASA mission, a six-month expedition to the International Space Station where she was the only woman on her six-person crew. After years spent overcoming obstacles in competitive, high-performance environments, including grappling with her own doubts and training in a spacesuit that was too big, Coleman became a success story in a role that wasn’t built with her in mind—an astronaut who is also a mother, Air Force colonel, scientist, and leader. Her determination and amazing experiences give her a unique perspective on how to set yourself up for success, in space and here on Earth. In Sharing Space, Cady shares counterintuitive insights integral to her success, such as how to know when to adapt and when to press for change instead, how to leverage insecurities to beat expectations, and how to be the glue that holds a disparate team together, shaping it to thrive. Illustrated with stories from her life and training, Cady takes readers from meteorite hunting in Antarctica to launching a $1.6 billion telescope into space to the wonder of spending six months living and working in zero gravity. This book will inspire anyone eager to escape a box in which they have been (wrongly) placed and to develop the confidence to succeed, even when they’re not an obvious “fit.”
In order to sustain their ventures in the Indian market, businesses developed an ecosystem to promote their current and future business. Over time, more and more small business owners emerged and organised their own settings to sustain business activities.Contemporary times challenge emerging economies — like India — to adopt entrepreneurship in order to boost its economy. Micro, Small and Medium Enterprises (MSMEs) are the preferred way of addressing these challenges; however, the ecosystem required to promote these MSMEs poses significant challenges and requires change to be sustainable.This book examines original case studies, quantitative studies and qualitative research highlighting the organisation of new business, reflecting a wide range of sectors across India. The book offers new insights to budding entrepreneurs to help organise new and established firms to infuse entrepreneurial intentions among the workforce.