| Item | Title | Total requests | 2026-08 | 2026-07 | 2026-06 | 2026-05 |
|---|---|---|---|---|---|---|
| 3s7118mr | The potential of dance as embodied learning | 437 | 121 | 94 | 92 | 130 |
| 5zq0v7sg | Polymeters, Body, and Mind: One Musician's Creative Experiments with (Dis)embodied Rhythm | 276 | 57 | 60 | 63 | 96 |
| 53g1153x | Multisensorial experiences and embodied knowledge of professional dancers in ballet practices | 246 | 72 | 39 | 58 | 77 |
| 7548b88w | Sacred Reptiles and Native Worldview: Enactive Aesthetics in Ancient Mesoamerica | 241 | 78 | 41 | 48 | 74 |
| 78286968 | Phenomenality, Narrativity, Tulpamancy; Experience Without Subjects?, Abstract | 225 | 110 | 20 | 26 | 69 |
| 96q1h7xz | Painting is a whale | 194 | 69 | 12 | 50 | 63 |
| 90m0g1s1 | Cyclops and Slashes | 160 | 38 | 22 | 41 | 59 |
| 9d18w5dr | An Introduction to Radical Embodied Cognitive Neuroscience | 159 | 30 | 8 | 20 | 101 |
| 24n07548 | A path from Irvine: Theatrical and anthropological explorations of self-knowledge | 154 | 54 | 9 | 25 | 66 |
| 5p60z4ps | Aesthetics of Adaptive Behaviors in Agent-based Art | 150 | 41 | 27 | 20 | 62 |
| 6w42d6p2 | FCJ-132 Towards a Performative Aesthetics of Interactivity | 147 | 57 | 24 | 24 | 42 |
| 30h4m2mp | Empathy and groove in musical movement | 145 | 29 | 14 | 17 | 85 |
| 9p66b2bj | Sounds from the Electrified Human Body: Reconfigurations of Embodied and Encultured Knowledge from the Development of Electrosomatophones | 143 | 41 | 19 | 42 | 41 |
| 81w0g89c | Pedagogia del corpo-Embodied Pedagogy: An Italian perspective | 137 | 44 | 17 | 23 | 53 |
| 0qr0z45g | Music Emergent: Autopoiesis and Connected Worlds | 136 | 33 | 14 | 22 | 67 |
| 84w6d37j | Time is of the essence | 135 | 33 | 18 | 30 | 54 |
| 3z93s2xc | And You Are the Wound | 131 | 21 | 11 | 30 | 69 |
| 6m10z8c8 | Mosh Phenomenology | 126 | 23 | 12 | 28 | 63 |
| 9956k3v8 | From harmony to intensity: the reconstruction of "body" in Chinese New Ink Art | 126 | 30 | 21 | 22 | 53 |
| 7xq2t8bh | 40 Volume | 125 | 24 | 11 | 29 | 61 |
| 3j9916pw | Taking Up the Bodies and Bringing Forth a World: Lecoq's Actor Training and Enactivism | 124 | 28 | 25 | 25 | 46 |
| 63c7w29v | Taxi Ride to Gauguin: An Interview with Amy Sillman & Nicole Eisenman | 124 | 31 | 9 | 29 | 55 |
| 31g4p0dn | Musical Worlds and the Extended Mind | 121 | 28 | 10 | 24 | 59 |
| 91z955mk | Neuronal Post-Structuralism: A Humanist's Perspective on the Mathematics of the Construction of Memory | 116 | 26 | 20 | 24 | 46 |
| 09d8c49k | Notes on Art and Transcendance | 112 | 26 | 10 | 12 | 64 |
| 0g42b9bq | Interdisciplinary Approaches to Interaction, Abstract | 112 | 19 | 15 | 23 | 55 |
| 0gr297z0 | Learning with the body: investigating the link between musical interaction and the acquisition of musical knowledge and skills, Abstract | 112 | 19 | 3 | 17 | 73 |
| 5n91f2cg | The Network and Dance, or a cognitive artifact embodied by a situated cognition | 108 | 18 | 13 | 21 | 56 |
| 2xq2r74j | John Locke's Hands: The Tools of Embodiment in <em>An Essay Concerning Human Understanding</em> | 107 | 20 | 9 | 24 | 54 |
| 3pj432d4 | Hand Scroll and the Seeing: An Embodied Analysis of Chinese Traditional Painting, Abstract | 104 | 23 | 9 | 21 | 51 |
| 3wf8g2bt | bill of rights for bodies when the are born on planet earth | 104 | 35 | 7 | 21 | 41 |
| 9qk5765m | Dress, Score, Tether | 104 | 17 | 12 | 27 | 48 |
| 91g306ds | Untying the Knot of Dance Movement Expertise: An Enactive Approach | 103 | 19 | 19 | 20 | 45 |
| 36b624tw | In Conversation with Alan Gilbert | 102 | 15 | 9 | 22 | 56 |
| 4183z46p | Embodied Reflection | 102 | 23 | 19 | 21 | 39 |
| 9gp8s1cn | Dear Camilla (On 54 Bones Gleaning the Storm) | 101 | 22 | 6 | 13 | 60 |
| 8680g0tb | To Talk of Many Things, Of Stories, Ships and String, of Connections, Collaborations, Knowledges and Kin: Prehistoric Seafaring and Embodied Cognition | 100 | 19 | 15 | 21 | 45 |
| 1ds0r585 | De-Anthropologising the Human and its Impact on Racism: A Third World Perspective | 94 | 12 | 11 | 14 | 57 |
| 7960z5wx | Using theatre and art-based pedagogy to achieve the practices of science in the student body, Abstract | 93 | 19 | 10 | 15 | 49 |
| 9cc0g10n | Ghosting the Radical in the New Gilded Age: Immersive Theatre in Los Angeles | 93 | 20 | 10 | 15 | 48 |
| 06k3f9gh | Physical sketching, abstract movements and creative processes - the promise of updating the body schema with haptics, Abstract | 92 | 17 | 15 | 17 | 43 |
| 5p45g68p | Perceptual Learning and the Emergence of Performer-Instrument Interactions with Digital Music Systems | 91 | 22 | 17 | 17 | 35 |
| 0qc615zz | If the Body is Part of Our Discourse, Why Not Let It Speak, Abstract | 90 | 14 | 12 | 17 | 47 |
| 5pk059ht | Slippery When Wet | 89 | 22 | 4 | 21 | 42 |
| 8dd5979n | Joint improvisation in the arts practices: Entrainment, engagement, and expert skill | 88 | 25 | 10 | 12 | 41 |
| 1011q6zp | Embodied Encounters: The Role of the Body in Art Criticism, Abstract | 87 | 15 | 12 | 14 | 46 |
| 182756v1 | Acting as Participatory Sense-Making | 85 | 12 | 13 | 21 | 39 |
| 38z6g0ms | Critical Unmaking: Divination, the Algorithm, and the Practice of Automatic Writing, Abstract | 85 | 17 | 7 | 15 | 46 |
| 9h97w2bm | The Baroness is All Hands | 85 | 17 | 13 | 8 | 47 |
| 6k15r4x1 | Suffering, Embodiment, and the Self in Sophocles' Philoctetes, Abstract | 83 | 13 | 11 | 20 | 39 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.