Department of Art
Parent: UC Irvine
eScholarship stats: Breakdown by Item for April through July, 2026
| Item | Title | Total requests | Download | View-only | %Dnld |
|---|---|---|---|---|---|
| 3s7118mr | The potential of dance as embodied learning | 448 | 154 | 294 | 34.4% |
| 5zq0v7sg | Polymeters, Body, and Mind: One Musician's Creative Experiments with (Dis)embodied Rhythm | 288 | 202 | 86 | 70.1% |
| 7548b88w | Sacred Reptiles and Native Worldview: Enactive Aesthetics in Ancient Mesoamerica | 239 | 187 | 52 | 78.2% |
| 53g1153x | Multisensorial experiences and embodied knowledge of professional dancers in ballet practices | 226 | 51 | 175 | 22.6% |
| 9d18w5dr | An Introduction to Radical Embodied Cognitive Neuroscience | 167 | 43 | 124 | 25.7% |
| 78286968 | Phenomenality, Narrativity, Tulpamancy; Experience Without Subjects?, Abstract | 165 | 57 | 108 | 34.5% |
| 96q1h7xz | Painting is a whale | 163 | 73 | 90 | 44.8% |
| 30h4m2mp | Empathy and groove in musical movement | 157 | 64 | 93 | 40.8% |
| 90m0g1s1 | Cyclops and Slashes | 157 | 86 | 71 | 54.8% |
| 3j9916pw | Taking Up the Bodies and Bringing Forth a World: Lecoq's Actor Training and Enactivism | 154 | 43 | 111 | 27.9% |
| 0qr0z45g | Music Emergent: Autopoiesis and Connected Worlds | 148 | 52 | 96 | 35.1% |
| 3z93s2xc | And You Are the Wound | 146 | 53 | 93 | 36.3% |
| 5p60z4ps | Aesthetics of Adaptive Behaviors in Agent-based Art | 146 | 56 | 90 | 38.4% |
| 6m10z8c8 | Mosh Phenomenology | 142 | 54 | 88 | 38.0% |
| 63c7w29v | Taxi Ride to Gauguin: An Interview with Amy Sillman & Nicole Eisenman | 140 | 47 | 93 | 33.6% |
| 6w42d6p2 | FCJ-132 Towards a Performative Aesthetics of Interactivity | 137 | 80 | 57 | 58.4% |
| 84w6d37j | Time is of the essence | 137 | 64 | 73 | 46.7% |
| 24n07548 | A path from Irvine: Theatrical and anthropological explorations of self-knowledge | 136 | 56 | 80 | 41.2% |
| 0g42b9bq | Interdisciplinary Approaches to Interaction, Abstract | 132 | 39 | 93 | 29.5% |
| 9p66b2bj | Sounds from the Electrified Human Body: Reconfigurations of Embodied and Encultured Knowledge from the Development of Electrosomatophones | 132 | 49 | 83 | 37.1% |
| 31g4p0dn | Musical Worlds and the Extended Mind | 131 | 51 | 80 | 38.9% |
| 7xq2t8bh | 40 Volume | 130 | 26 | 104 | 20.0% |
| 91g306ds | Untying the Knot of Dance Movement Expertise: An Enactive Approach | 129 | 56 | 73 | 43.4% |
| 9956k3v8 | From harmony to intensity: the reconstruction of "body" in Chinese New Ink Art | 129 | 38 | 91 | 29.5% |
| 2xq2r74j | John Locke's Hands: The Tools of Embodiment in <em>An Essay Concerning Human Understanding</em> | 127 | 37 | 90 | 29.1% |
| 91z955mk | Neuronal Post-Structuralism: A Humanist's Perspective on the Mathematics of the Construction of Memory | 127 | 47 | 80 | 37.0% |
| 81w0g89c | Pedagogia del corpo-Embodied Pedagogy: An Italian perspective | 126 | 65 | 61 | 51.6% |
| 8680g0tb | To Talk of Many Things, Of Stories, Ships and String, of Connections, Collaborations, Knowledges and Kin: Prehistoric Seafaring and Embodied Cognition | 122 | 48 | 74 | 39.3% |
| 36b624tw | In Conversation with Alan Gilbert | 121 | 40 | 81 | 33.1% |
| 5n91f2cg | The Network and Dance, or a cognitive artifact embodied by a situated cognition | 116 | 56 | 60 | 48.3% |
| 1ds0r585 | De-Anthropologising the Human and its Impact on Racism: A Third World Perspective | 115 | 56 | 59 | 48.7% |
| 3pj432d4 | Hand Scroll and the Seeing: An Embodied Analysis of Chinese Traditional Painting, Abstract | 114 | 43 | 71 | 37.7% |
| 0gr297z0 | Learning with the body: investigating the link between musical interaction and the acquisition of musical knowledge and skills, Abstract | 113 | 37 | 76 | 32.7% |
| 09d8c49k | Notes on Art and Transcendance | 110 | 55 | 55 | 50.0% |
| 9qk5765m | Dress, Score, Tether | 110 | 38 | 72 | 34.5% |
| 4183z46p | Embodied Reflection | 109 | 54 | 55 | 49.5% |
| 0qc615zz | If the Body is Part of Our Discourse, Why Not Let It Speak, Abstract | 106 | 36 | 70 | 34.0% |
| 9gp8s1cn | Dear Camilla (On 54 Bones Gleaning the Storm) | 106 | 31 | 75 | 29.2% |
| 06k3f9gh | Physical sketching, abstract movements and creative processes - the promise of updating the body schema with haptics, Abstract | 105 | 30 | 75 | 28.6% |
| 7960z5wx | Using theatre and art-based pedagogy to achieve the practices of science in the student body, Abstract | 105 | 35 | 70 | 33.3% |
| 0qj66829 | Editor's Note | 103 | 27 | 76 | 26.2% |
| 0142h57x | Studied Sentiments: A Look at Jennifer Doyle's Hold it Against Me: Difficulty and Emotion in Contemporary Art | 102 | 45 | 57 | 44.1% |
| 8tq236vs | Phenomenology in Practice: Implications for the Art and Craft of Fiction, Abstract | 100 | 25 | 75 | 25.0% |
| 1011q6zp | Embodied Encounters: The Role of the Body in Art Criticism, Abstract | 99 | 37 | 62 | 37.4% |
| 3wf8g2bt | bill of rights for bodies when the are born on planet earth | 99 | 27 | 72 | 27.3% |
| 182756v1 | Acting as Participatory Sense-Making | 98 | 47 | 51 | 48.0% |
| 8dd5979n | Joint improvisation in the arts practices: Entrainment, engagement, and expert skill | 97 | 49 | 48 | 50.5% |
| 5p45g68p | Perceptual Learning and the Emergence of Performer-Instrument Interactions with Digital Music Systems | 96 | 27 | 69 | 28.1% |
| 9cc0g10n | Ghosting the Radical in the New Gilded Age: Immersive Theatre in Los Angeles | 96 | 41 | 55 | 42.7% |
| 3rv4m2b7 | "We-ing" in Joint Music Performance: Phenomonological Lessons with "The Danish String Quartet," Abstract | 95 | 35 | 60 | 36.8% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.