theory 
(
800) Narrative is a fundamental means through which people live their lives
(
781) Communication codes are learnt and culturally defined
(
747) Law as a discourse framed by the world that it inhabits and creates
(
721) Images do not embody information about their use
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690) The Reflective Practitioner: Choreography As Research In An Intercultural Context
(
687) Frayling: into, through and for art and design
(
641) Inside Out - Issues of interpretation in virtual heritage
(
640) Barthes: Death of the Author
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617) Reflexive Modernisation: knowledgeable subjects able to reflect on their social conditions
(
587) Spectacle as Show - not an inferior part of tradegy
(
580) changing our footing in talk
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579) Ernest Boyers: Priorities of the Professoriate
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576) bystandering as a footing position
(573) Thick Conceptions of Practice: cognitive skills that give rise to contextualised beliefs
http://folksonomy.org.uk/?s=573
Utterance:
There are, however, plenty of cognitive skills that are less common and that give rise to similarly contextualised beliefs. They are not common, for the skills that enable belief have to be learnt and the learning can involve considerable immersion in specialised experiences before the skills are acquired. A good example would be the skills involved in making expert discriminative judgements about music. Being able to perceive and to attend to fine grades of difference in phrasing, dynamics and tone normally take a lengthy apprenticeship. As a result of that apprenticeship beliefs become available to you that were hitherto inaccessible. Even after a lengthy apprenticeship one's articulation of these beliefs can remain deeply embedded in the practice. Consider the expert holding a master class whose only expression of the interpretation they are after amounts to the injunction 'Play it like this' and then they play the piece. And even when a rich vocabulary develops to replace the demonstrative articulation of the musical properties the teacher is interested in, understanding that vocabulary still requires an immersion in the practices of music making. When the teacher asks you to play a phrase aggressively, you are not meant to growl and snarl as you play it! You know what is meant by virtue of the kinds of features of musical experiences to which you have been trained to attend.
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©Professor Michael Luntley (University of Warwick)
Luntley draws a distinction between "thin" and "thick" conceptions of professional practice. He describes thin conceptions of practice as ones that can be readily comprehended by non-practitioners. Thin conceptions for him run the risk of limiting the focus of understanding of practice 'know-how' to easily generalised and transferable knowledge. He believes that practitioners need to be exposed to thick conceptions of practice as part of their enculturation and apprenticeship into a discipline. Thin conceptions of practice he believes, are inadequate for describing the richness of understanding evinced through engagement and embeddedness in practice.
Motivation:
Book: Luntley, Michael. 2001 Subject Knowledges and Professional Practice in the Arts and Humanities, , : Humanities and Arts higher education Network.
(
560) topography of action: to rise above or drop below a field of experience
(
539) ICT-Based Learning Environments: transmission or active exploration?
(
536) discussion about culture anticipates and disseminates culture
(
532) Types of Research in the Creative Arts and Design
(
527) Bernstein: Horizontal Discourse and Vertical Discourses
(
521) Design scholarship as an alternative form of research grounded in practice
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510) Self-Reflexivity: the natural sciences versus the human sciences
(
495) A Depiction Of The Process Of Picture Making: Emergence Of A Meta-Subject
(
481) Clive Wearing: procedural and declarative memories
(
477) Constructivism and Online Education
(
459) coalescing in the act of interpretation
(
449) Wittgenstein's picture theory of meaning
(
448) Differ
ance: formation of form
(
447) Interaction Design: university & applied research centres
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426) Gestell: enframing and converting everything encountered
(
413) Empiricism: failing to secure contingency
(
406) post-traditional order contesting the hierarchy of legitimacy
(
397) Reflexive Modernisation: Beyond Modernism & Postmodernism
(
360) the mirror is both a utopia and a heterotopia
(
344) Francis Bacon: misconceptions in the discovery of causes
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322) Sapir-Whorf Hypothesis
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205) Donald Schön: The Reflective Practitioner Model
(
195) archaeology-poem: multiple registers
(
203) Julia Kristeva: The Abject
(
193) Defamiliarization and Making Strange
(
191) suture: revelation of constructed nature
(
178) insurrection of subjugated knowledges
(
168) Donna Haraway: situated knowledges
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161) Historical Revisionism
(
146) every utterance generates a response
(
149) freemason: secular architect shaping the world
(
150) freemason: utopic representations of an orderly society
(
151) freemason: Solomon's Temple - classical order
(
154) heteroglossia: multilanguagedness
(
131) contingent product of contingently existing forces
(
92) authenticity: authority of the object
(
80) tends to perfection: nature
(
63) information is a commodity and is properly controlled by market forces?
(
61) Diachronic and synchronic
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3) Walter Benjamin: das passagen-werk / the arcades project
(
38) Michel Foucault: Heterotopia
(
40) Kevin Hetherington: Heterotopia & Social Ordering
(
44) Henri Bergson: Tendencies and Composites
(
45) readerly texts and writerly texts
(
48) Deleuzian Memory of Sans Soleil
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