Journal articles on the topic 'Feuersteins instrumental enrichment program'

The authors make the case for the inclusion of cognitive enrichment programs in early mainstream education that should be designed to eliminate the early discrepancies in children’s cognitive abilities and prevent later learning disabilities and achievement gaps. Following a review of the literature on existing early cognitive enrichment programs and their effects with cognitive impaired children and children with special needs, the authors present the theoretical and programmatic features of Feuerstein’s 3-year basic program, along with a brief description of its different modules. The authors also provide a summary of all the available evidence of the program’s effectiveness, including the results of 3 evaluation studies of pilot projects in the United States. The article culminates in an appeal for rigorous research on the feasibility and effects of programs in mainstream education for early cognitive enrichment and prevention of learning problems, including research on the effects of Feuerstein’s Instrumental Enrichment–Basic (FIE-B) program.

The Feuerstein Instrumental Enrichment (FIE) program was implemented in a primary school in New Zealand for 10 years old students with average educational ability. Targeted goals were to examine if the FIE program helped students to be less impulsive, plan well, and better in solving problems. The program started with 17 students for the first two school terms and from this group 8 students continued with two more school terms (one year). Results of this field study suggest that the 8 students who continued the FIE program made good gains in the targeted goals. This is only an exploratory project with a small sample of students and not a formal research study.

21 adults with intellectual disabilities were examined three years after participating in a cognitive intervention program in order to assess the durability of their cognitive achievements. The sample consisted of two age groups: 30-49 years (n=12) and 50-59 years (n=9). The primary intervention method was the Instrumental Enrichment Program. The effects of the intervention were examined by three types of thinking instruments: logical thinking (Reversal and Verbal Abstraction Tests), predictive thinking (Maze Tests), and insightful thinking (Postures and Children Tests). These tests were given five times: two times prior to the cognitive education program, spaced two months apart; two times after the cognitive education program, spaced two months apart; three years after the program. This repeated-measurement was used to compensate for the absence of a control group (an absence due to reality-based technical considerations). The original study yielded significant improvement from Time 2 to Time 3, and two months later (Time 4), showing a divergent effect for two types of thinking. The follow-up evaluation (Time 5) showed a drop in the cognitive functioning relative to Time 4, but not to Time 3, a finding that indicates a durability effect. The results support Feuerstein’s structural cognitive modifiability theory, according to which long-term individual changes are possible regardless of the individual’s age and cognitive functioning level.

In the information society metacognitive competencies are essential. Based on some activities from the Enrichment Instrumental Program elaborated by professor Reuven Feuerstein we have designed a program for developing the students capacities of selfcontrol, selfknowing and intelectual learning strategies. The case study presents the formation of students’ metacognitive competences at the "Lucian Blaga" University of Sibiu, "Hermann Oberth" Faculty of Enginereeing, Department of Computers Sciences. A Web based application has been developed in order to enable students to self-evaluate their metacognitive competencies and to acquire self-regulatory abilities.

The authors analyze two major approaches currently extant in curriculum and instruction in classroom application and propose a third approach. The analysis is based on a consideration of the contribution of cognitive development in the currently adopted approaches and their necessity in responding to the demands of modern technology and social change. A rationale is presented for emphasizing structural cognitive teaching as a separate and distinct curricular intervention. The Feuerstein Instrumental Enrichment (FIE) program is posed as an example of such intervention. The process of “bridging” that is an integral part of the FIE program is proposed as an effective vehicle for the development and transfer of thought processes acquired and their application to diverse content and learning situations.

This study explores the effectiveness of the Instrumental Enrichment Basic program (IE-B) in enhancing cognitive and affective functions of young children. The IE-B is a cognitive intervention program based on Feuerstein’s theories of structural cognitive modifiability (SCM) and mediated learning experience (MLE). Thirty 3- to 4-year-old children were assigned to experimental and control groups. The experimental group received the IE-B program for seven months (for a total of 48 hours) and was compared to the control group before and after intervention on tests of knowledge acquisition and vocabulary. Cognitive change was evaluated using a Chilean assessment battery that measured children’s language, cognition, and knowledge. The findings indicate that children in the experimental group improved their performance more than children in the control group. Results indicate that IE-B can be used with socially disadvantaged children as young as 3–4 and that it leads to improvement in their performance.

A study was conducted in the southern areas of the former Transkei evaluating the development of thinking skills through Feuerstein’s Instrumental Enrichment (FIE) program (Sonn, 1996). The researcher came to certain conclusions and made several recommendations. One of these recommendations was to change the classroom setting to facilitate the effective development of thinking skills. This paper is divided into three parts. Part one discusses the need for an alternative classroom setting. Curriculum developers seldom address the type of environment in which a curriculum should be implemented, even though the environment is a factor that affects the implementation of any curriculum. Therefore, if we want to change the curriculum to allow for the teaching of thinking skills, we have to change the classroom setting as well. Part two is a review of various examples of classroom settings and the alternative instructional structures. Specifically discussed are the advantages of: (a) biology laboratories, (b) longer blocks of time offered several times a week, (3) developing junior science laboratories, historical societies, social policy institutes, publishing houses, television stations, and (d) junior think tanks where groups of interested students, under adult guidance from either a teacher or a professional policy analyst, focus on a problem of concern to the adolescent and adult community. The third part of the paper addresses the question of why alternative instructional settings and structures have not taken root and flourished.

The goal of this paper is to explore the cognitive and metacognitive skills of teachers engaged in cogni-tive training. One of the best-known stand-alone cognitive programs is "Instrumental Enrichment" (IE) developed by Feuerstein, Rand, Hoffman, and Miller. Similar to other cognitive programs, the main em-phasis on IE research has always been on the change that occurs in students' performance. Little is known of teachers' acquisition of IE problem-solving skills and even less of their metacognitive performance associated with this acquisition. In the present study, 28 teachers were pre-and post-tested before and after 90 hours of IE training. The tests included items similar but not identical to those used during the IE training. The analysis of pre-test problem solving demonstrated that a relatively large number of teachers experienced difficulty in solving at least some of the IE tasks. The even greater difficulty was observed in the teachers’ articulation of their problem-solving strategies in a written form. The comparison of pre-and post-test results indicates statistically significant improvement not only in the teachers’ cognitive problem solving but also in their metacognitive skills. These changes, however, did not reach the level of a complete cognitive or metacognitive mastery. The possible reasons for differences in the two sub-groups of teachers are discussed

It was hypothesized that efficient generalization and durability in Instrumental Enrichment (IE) program can be achieved by using metacognition principles in bridging. 140 talented children 10–12 yr. olds were drawn from schools which are defined as culturally disadvantaged. The subjects were randomly divided into experimental and control groups. During two years the experimental group received 240 hours of intervention. Half of the time was devoted to IE and the other half to various topics which were not learned in school. Throughout the entire intervention program, emphasis was placed upon the bridging between contents by means of metacognition, systematic thinking and integrative lesson plans. Immediately after the program was completed the results showed generalization effects on verbal and nonverbal thinking tasks and very limited generalization on school achievement. A follow-up study, four years later, showed effects of durability on verbal, non-verbal thinking tasks and broad generalization in school achievement. The research points to the necessity to integrate between IE and school curriculum, through the conceptual framework of systematic thinking and metacognition.

Cognitive education is usually considered in terms of its impact on students’ problem-solving skills and their acquisition of disciplinary knowledge. Little is known about the impact of cognitive training on the cognitive skills of teachers themselves. In this pilot study, 80 South African high school teachers participated in the cognitive education (Instrumental Enrichment) course and then implemented the principles of cognitive teaching/learning in their classroom instruction. Teachers’ problem-solving skills were evaluated before the start and after 9 months of training and implementation. Significant changes were observed in teachers’ problem-solving performance. Teachers with better mastery of cognitive education program also demonstrated better cognitive task performance on the posttest. Teachers with weaker pretraining cognitive performance made greater relative gains than teachers with stronger initial performance. Recommendations are made regarding the use of Instrumental Enrichment as a tool of cognitive enhancement for teachers.

The current study used a case study methodological approach, including document analysis, semistructured interviews, and participant observations, to investigate how a science, technology, engineering, and mathematics (STEM) enrichment program supported retention and degree attainment of underrepresented students at a large, public, predominantly white institution. From this study, a model emerged that encompassed four components: proactive care, holistic support, community building, and catalysts for STEM identity development. These components encompassed a number of strategies and practices that were instrumental in the outcomes of program participants. This paper concludes with implications for practice, such as using models to inform program planning, assessment, and evaluation.

An intervention project at the Hebrew University Learning Center for the Blind introduced metacognitive techniques to compensate for educational deficiencies in visually impaired young adults with a history of academic failure. The project, based on the Instrumental Enrichment cognitive training program, led to improvement in students’ motivation, awareness of their own learning strategies, more rapid and sustained academic progress, and increased autonomy in learning.

This study assessed the effects of the administration of a package of activities, known asPortfolio, on adolescents' cognitive functioning and self-regulation of learning. The study was carried out with a group of 109 students (mean age 15 years old) from the first level of Vocational Training. The students had learning difficulties, were unmotivated to study, and had behavior problems. A quasi-experimental pretest-posttest design was employed. The intervention involved group sessions in which certain, specially selected tasks from the psychopedagogic Instrumental Enrichment Program, the Philosophy for Children Program, and Project Intelligence were carried out. The intervention tasks were distributed over the entire school year. Statistically significant differences were observed between the experimental and the control groups on measures of general intelligence, cognitive flexibility, and metacognitive strategies (allp< .01). Statistically significant gains were observed for the experimental group on measures of decision making, problem solving, and self-regulation of learning (allp< .01).

New evidence is presented that a basic cognitive function such as spatial memory is strongly culturally dependent and quite modifiable even in adult learners. The study was conducted with several groups of new immigrants from Ethiopia in Israel who were enrolled in a year-long educational program for young adults. Static administration of the Positional Learning Test demonstrated that these new immigrant students experienced considerable difficulty with spatial memory tasks. Learning potential (LP) assessment of spatial memory with the same task was then performed with two additional groups of new immigrant students. Though the groups had the same performance level in the static part of the test, their response to mediation was very different. This finding confirms that individuals with similar static performance may have very different LP. Students who demonstrated greater LP also benefited more from the Instrumental Enrichment intervention. The results of this study therefore suggest that LP assessment has added value for immigrant and minority students similar to those in this study, that spatial memory is both culturally dependent and modifiable, and that LP assessment may serve as a tool that can be helpful for planning cognitive education intervention.

Abstract t(8;21)(q22;q22)RUNX1-RUNX1T1 is a recurrent somatic lesion detected at diagnosis in approximately 12-15% of children with acute myeloid leukemia (AML). Children with this isolated translocation are usually considered at standard risk, but our last multicenter trial revealed a higher than expected cumulative incidence of relapse for these patients1. Genetic and epigenetic heterogeneity is emerging as a fundamental property of AML in the context of the clonal architecture dynamic evolution. In view of this observation, we hypothesized that within t(8;21) patients there may coexist a complex mosaic of cells containing combinations of the same genetic t(8,21) lesion together with different epigenetic variants, and that epigenetic complexity may play a crucial role in predisposing patients to relapse. The importance of the identification of molecular markers distinctive of t(8,21)-rearranged patients prone to develop relapse could be instrumental to improve their cure rate. We performed high throughput DNA methylation profiling (RRBS-seq) and integrated results with gene expression profiling (Affymetrix HTA 2.0) of 16 isolated t(8;21) AML samples collected at diagnosis, and analyzed data by comparing patients who did or did not experience relapse. We applied a logistic regression algorithm to identify differentially methylated regions (DMRs) considering a minimum change in methylation level of 25%. We validated results in a proteome context by reverse phase protein array (RPPA) in an independent cohort of 35 t(8;21) AML patients. DNA methylation profiling analysis identified 337 DMRs able to correctly predict t(8;21) patients who did relapse from those who did not. In particular, 23 DMRs (7%) were located at promoters, while most of them were equally distributed between intronic (48%) and exonic (45%) regions. Globally, we found hypomethylated DMRs being significantly enriched in relapsed patients, in particular in repetitive elements regions of the genome (LINE, SINE, DNA transposon: 38.9% vs 52.4%; p<0.01), supporting an enhanced transposable elements transcription contributing to cancer genomic instability. DMRs clustering analysis correctly divided t(8,21) patients according to their risk of experiencing relapse, independently of their different localization (at promoters, exons or introns), revealing that DNA methylation profiling has a predictive role for identifying patients with worse event-free survival. We then considered the role of methylation over gene expression and found a weak correlation between DMRs (mostly at promoters) and their associated gene levels (14.5% of DMRs with an inverse correlation r <-0.4, p<0.05). To better understand the role of DMRs and transcriptional regulation, we searched for associations between DMRs and chromatin modification patterns. DMRs were enriched at regulatory regions; in particular, we found hypermethylation in promoter and enhancer regions, while hypomethylation was found in repressed chromatin regions (p<0.05). Looking at the transcription factors (TFs) binding sites within the DMRs, we identified that at hypermetylated DMRs the most represented TFs were E2F1 and HDAC1, suggesting they might be almost transcriptional silenced. By contrast, MAFK and FOXA2 binding sites were enriched at hypomethylated sites, suggesting their enhanced activity in relapsed patients as compared to the non-relapsed ones. Finally, we interrogated gene ontology for DMRs-associated genes and deregulated genes found by GEP, showing a significant enrichment for pathways involved in cell adhesion and cytoskeletal organization. Proteome analysis by RPPA validated these pathways being aberrant activated (global test p<0.01) in an independent cohort of t(8;21)-rearranged patients, and supported the ongoing in vitro experiments in t(8;21) cell lines to define candidates genes involved in the pathophysiology of t(8,21) relapse. These data show that the methylation signature may be considered a novel, emerging diagnostic tool making possible to better stratifying t(8,21)-rearranged patients through the identification, already at diagnosis, of those who are prone to relapse . Preliminary data of functional analysis suggest that epigenome of t(8;21) blasts may control cell adhesion properties at bone marrow niche and treatment response, contributing to patients relapse. 1 Pession A, Blood. 2013;122(2):170-8. Disclosures No relevant conflicts of interest to declare.

<b><i>Background:</i></b> The rate of elderly individuals with mild cognitive impairment (MCI) has increased over recent decades. The Feuerstein Instrumental Enrichment (FIE) program for the elderly has been shown to be effective in various age groups but is has never been tested as a treatment for MCI in elderly patients. The aim of this study was to assess the effect of the FIE on the cognitive and functional state of elderly patients with MCI. <b><i>Methods:</i></b> This was an interventional pilot study in community-dwelling patients aged ≥65 years diagnosed with MCI in the previous year. The protocol included 30 twice-weekly 90-min sessions with a full neurocognitive evaluation prior to the intervention (v1), at its conclusion (v2), and half a year later (v3). <b><i>Results:</i></b> Nine of the 15 recruited participants completed the study. The mean age was 76.2 years. Compared to v1 and v2, the only significant improvements found at v3 were in the “visual perception” subtest of the NeuroTrax test and the total score of the MOCA test (<i>p</i> = 0.048 and 0.028, respectively). The effect size was &#x3e;0.7 (<i>r</i> = 0.7), indicating a moderate-to-high clinical significance. The results of the qualitative questionnaire were consistent with the positive effect of the group on the fostering of social ties, the motivation to learn, the cognitive contribution, and the development of a sense of self-efficacy. <b><i>Conclusion:</i></b> The study findings support the conclusion that an intervention with a focus on cognitive exercising can promote a feeling of self-efficacy and preserve some cognitive skills.

Preamble: Medium/Format/Marker Medium/Format/Marker (M/F/M) was a visual-aural improvisational performance involving myself, and musicians Joe Sorbara, and Ben Grossman. It was formed through my work as a PhD candidate at the Improvisation, Community, and Social Practice research initiative at the University of Guelph. This performance was conceived as an attempted intervention against the propensity to reify the “new.” It also sought to address the proliferation of the screen and question how the increased presence of screens in everyday life has augmented the way in which an audience is conceived and positioned. This conception is in direct conversation with my thesis, which is a practice-based research project exploring what the experimental combination of intermediality, improvisation, and the cinema might offer towards developing a reflexive approach to "new" media, screen culture, and expanded cinemas. One of the ways I chose to explore this area involved developing an interface that allowed an audio-visual ensemble to improvise with a film's audio-visual projection. I experimented with different VJ programs. These programs often utilize digital filters and effects to alter images through real-time mixing and layering, much like a DJ does with sound. I found a program developed by Chicago-based artist Ontologist called Ontoplayer, which he developed out of his practice as an improvisational video artist. The program works through a dual-channel interface where two separate digital files could be augmented, with their projected tempo capable of being determined by musicians through a MIDI interface. I conceptualized the performance around the possibility of networking myself with two other musicians via this interface. I approached percussionist Joe Sorbara and multi-instrumentalist Ben Grossman with the idea to use Ontoplayer as a means to improvise with Chris Marker's La Jetée (1962, 28 mins). The film itself would be projected simultaneously in four different formats: 16mm celluloid, VHS, Blu-ray, and Standard Definition video (the format the ensemble improvised with) projected onto four separate screens. From left to right, the first screen contained the projected version of La Jetée that we improvised with, next to it was its Blu-ray format, next to that, a degraded VHS copy of the film, and next to that, the 16mm print. The performance materialized through performing a number of improvisatory experiments. A last minute experiment conceived a few hours before the performance involved placing contact microphones overtop of the motor on a Bell & Howell 16mm projector. The projector was tested in the days leading up to the performance and it ran as smoothly as could be expected. It had a nice cacophonous hum that Ben Grossman intended to improvise with using some contact mics attached directly over the projector’s motor, a $5 iPad app, and his hurdy-gurdy. Fifteen minutes before the performance began, the three of us huddled to discuss how long we'd like to go. We had met briefly the day before to discuss the technical setup of the performance but not its execution and length. I hadn't considered duration. Joe broke the silence by asking if we'd be "finding beginnings and endings." I didn't know what that entailed, but nodded. We started. I turned on the projector and it immediately started to cough and chew on the 40 year old 16mm print I found online. My first impulse was to intervene, to try to save it. The film continued and I sat frozen for a moment. Joe started playing and Ben, expecting me to send him the audio track from La Jetée, prompted me to do so. I let the projector go and began. Joe had a digital kick-drum and two contact mics on his drum kit hooked into a MIDI hub, while Ben's hurdy-gurdy had a contact mic inside it, wired into the hub. The hub hooked into my laptop and allowed for an intermedial conversation to emerge between the three of us. While the 16mm, VHS, and Blu-Ray formats proceeded relatively unimpeded alongside each other on their respective screens, the fourth screen was where this conversation took place. I digitally reordered different image sequences from La Jetée. The fact that it’s a film (almost) comprised entirely of still images made this reordering intriguing in that I was able control the speed of progressing from each image to the next. The movement from image to image was structured between Ben and Joe’s improvisations and the kind of effects and filters I had initialized. Ontoplayer has a number of effects and filters that push the base image into more abstract territories (e.g.: geometric shapes, over pixelation) I was uninterested in exploring. I utilized effects that to some degree still kept the representational content of the image intact. The degree to which these effects took hold of the image were determined by whether or not Ben and Joe decided to use the part of their instrument that would trigger them. The decision to linger on an image, colour it differently, or skip ahead in the film’s real-time projection destabilized my sense of where I was in the film. It became an event in the sense that each movement, both visual and aural was happening with an indeterminate duration. La Jetée opens with the narrator proclaiming: “this is the story of a man marked by an image from his childhood.” The story itself is situated around a man in a post-apocalyptic world, haunted by the persistent memory of a woman he saw as a child while standing on the jetty at Orly Airport in Paris. The man was a soldier, now captured, and imprisoned in an underground camp. The prison guards have been conducting experiments on the prisoners, attempting to use the prisoner’s memories as a mechanism to send them backwards and forwards in time. The narrator explains, “with the surface of the planet irradiated … The human race was doomed. Space was off limits. The only link with survival passed through time … The purpose of the experiments was to throw emissaries into time to call the past and future to the aid of the present.” La Jetée is visually structured as a photomontage, with voice-over narration, diegetic and non-diegetic sound existing as component parts to the whole film. I decided to separate these components for the sake of isolating them before the performance as instruments of the film to be improvisationally deployed through the intermedial connection between Ben, Joe, and myself. The resulting projections that emerged from our interface became a kind of improvised "grooving" to La Jetée that restricted the impulse to discriminately place sound beneath and behind the image. I selected images from different points in the film that felt "timely" given the changing dynamic between the three of us. I remember lingering on an image of the woman's face, her hand against her mouth, her hair being blown back by the wind. I looked and listened for the moment when the film would catch and then catch fire. It never came. We let the reel run to the end and continued on improvising until we found an ending. But the sound of that film catching but never breaking, the intention and tension of the film being near death the entire time made everything we did more precious, teetering on the brink of failure. We could never have predicted that, and it gave us something I continue to ponder and be thankful for. Celluloid junkies in the room commented on how precipitous the whole thing was, given how rare it is to encounter the sound of celluloid film travelling through a projector inside a cinematic space. An audiophile mused over how there wasn’t any document, his mind adequately blown by how “funky” the projector sounded. With there being no document of the performance, I'm left with my own memories. In mining the aftermath of this performance, I hope to find an addendum that considers how improvisation might negotiate with augmentation in ways that speak to Walter Benjamin's assertion that the "camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action” (Benjamin 236-7).Images to be Determined I got a job working in a photo lab eight years ago, right around the time digital cameras started becoming not only affordable, but technologically-comparable alternatives to film cameras. The photo printer in the lab was setup to scan and digitize celluloid filmstrips to allow for digital “touchups” by the technician. It was also hooked into touchscreen media stations that accepted a variety of memory card formats so that customers could “touchup” their own images. Celluloid film meant that as long as their format was chemical, touching up their images remained the task of the technician. Against the urging of the lab’s manager, I resisted altering other people’s images. It felt like a violation, despite the fact that almost every customer was unaware of this process. They assumed a degree of responsibility for a chemically-exposed image. I still got blamed for a lot of bad photography, but an image chemically under or overexposed was irreparable. Digital cameras changed all of that. I still preferred an evenly exposed celluloid print to a digital, but the allure was the ability for these images to be augmented. Augmentation is synonymous with "enhancement," "prosthesis," "addition," "amplification," "enrichment," "expansion,” and "extension" (to name a few). For the purpose of this essay, I am situating augmentation as an agential act engaging with a static form to purposefully alter its aesthetic and political relation to a reality. To what extent can we say that the digital image is itself, an augmentation? If Instagram is any indication, the digital image's existence is bound by its perpetual augmentation. A digital image is only as good as its capacity to be worked on. The ubiquity of digitally applying lomographic filters to digital images, as a defining step in their distributive chain, is indicative of the discursive impact remediating the old into the new has on digital forms. These digitally-coded filters used to augment “clear” digital images are comprised of exaggerated imperfections that existed to varying degrees, as unforeseen side effects of working with comparatively more unstable celluloid textures. The filtered images themselves are digital distortions of a digital original. The filters augment this original through obscuring one or a number of components. Some filters might exaggerate the green values or sharpen a particular quadrant within the frame that might coincide with the look of a particular film stock from the past. The discourse of “film” and “vintage” photography has become a synonymous component of the digital aesthetic, discursively warming up what is often considered to be a cold, and disembodied medium. Augmentation works to re-establish a congruous relationship between the filmic and the digital, attempting to reconcile the aesthetic distance between granularity and pixelation. This is ironic because this process is encapsulated through digitally encoding and applying these filters for the sake of obscuring clarity. Thus, the object is both hailed as clear and clearly manipulable. Another example a bit closer to the cinema is the development of digital video cameras offering RAW, or minimally compressed file formats for the sole purpose of augmenting the initial recording in post-production workflows in an attempt to minimize degradation in the image. The colour values and dynamic range of these images are muted, or flattened so that the human can control their elevation after the fact. To some degree the initial image, in itself, is an augmentation of its filmic relative. From early experiments with video synthesizers to the present digital coding of film effects, digital images have tantalized video artists and filmmakers with possibility shrouded in instantaneity and malleability. A key problem with this structure remains the unbridled proliferation and expansion of the digital image, set free for the sake of newness. How might improvisation work towards establishing an ethics of augmentation? An ethics of this kind must disrupt the popular notion of the digital image existing beyond analogical constraints. The belief that “if you can imagine it, you can do it” obfuscates the reality that to work with images, whatever their texture, is a negotiation with constraint. Part of M/F/M’s fruition emerged from a conversation I'd had with Canadian Animator Pierre Hébert last summer. Now obvious, but for Hébert, the first obstacle he needed to overcome as an improviser was developing an instrument that he could gig with. Through the act of designing an instrument I immediately became aware of what wasn't possible, and so the work leading up to the performance involved attempting to expand the possibilities of that instrument. How might I conceive of my own treatment of images simultaneously treated by Joe and Ben as a kind of cinematic extended technique we collaboratively bring into being? Constraint necessitates the need for extension, for finding new ways to sound and appear. Constraint is also consistently conceived as shackling progress. In scientific methodologies it is often arbitrarily imposed to steer an experiment into a desired direction. This sort of experimental methodology is in the business of presupposing outcomes, which I feel is often the case with what ultimately becomes the essay of end result in Humanities research. Constraint is an important imposition in improvisation only if the parties involved are willing to find new ways to move in consort with it. The act of improvisation is thus an engagement with the spatio-temporal constraints of performance, politics, memory, texture, and difference. My conception of the cinema is that of an instrument, whose past is what I work with to better understand its future. Critic Gene Youngblood, in his landmark book, Expanded Cinema, theorized a new conception of the cinema as a global planetary phenomenon suffused inside a space of intermedia, where immersive, interactive, and interconnected realms necessitated the need to critically conceptualise the cinema in cosmic terms. At around the time of Youngblood's writing, another practitioner of the cosmic way, improviser and composer Sun Ra was staking a similar claim for music's ability to uplift the species cosmically. Ra's popular line “If we came from nowhere here, why can’t we go somewhere there?” (Heble 125), articulated the problematic racial politics in post-WWII America, that fixed African-American identity into a static domain with little room to move upward. The "somewhere there" to Ra was a non-space, created from "a desire to opt out of the very codes of representation and intelligibility, the very frameworks of interpretation and assumption which have legitimated the workings of dominant culture" (Heble 125). Though Youngblood's and Ra's intellectual and creative impulses formed from differing political circumstances, the work and thinking of these two figures remain significant articulations of the need to work from and towards the cosmic. In 2003, Youngblood published a follow-up essay in a reprint of Expanded Cinema entitled Cinema and the Code. In it, he defines cinema as a “phenomenology of the moving image.” Rather than conceiving of it through any of its particular media, Youngblood advocates for a segregated conception of the cinema: Just as we separate music from its instruments. Cinema is the art of organizing a stream of audiovisual events in time. It is an event-stream, like music. There are at least four media through which we can practice cinema – film, video, holography, and structured digital code—just as there are many instruments through which we can practice music. (Youngblood cited in Marchessault and Lord 7) Music and cinema are thus conceived as the exterior consequences of creative and co-creative instrumental experimentation. For Ra and Youngblood, the planetary stakes of this project are infused with the need to manufacture and occupy an imaginative space (if only for a moment) outside of the known. This is not to say that the action itself is transcendental. But rather this outside is the planetary. For the past year I've been making a documentary with Joe Sorbara on the free improv scene in Toronto. Listening to musicians talk about improvisation in expansive terms, as this ethereal and ephemeral experience, that exists on the brink of failure, that is as much an act of memory as renewal, reverberated with my own feelings surrounding the cinema. Improvisation, to philosopher Gary Peters, is the "entwinement of preservation and destruction", that "invites us to make a transition from a closed conception of the past to one that re-thinks it as an endlessly ongoing event or occurrence whereby tradition is re-originated (Benjamin) or re-opened (Heidegger)” (Peters 2). This “entwinement of preservation and destruction” takes me back to my earlier discussion of the ways in which digital photography, in particular lomographically filtered snapshots, is structured through preserving the discursive past of film while destroying its standard. The performance of M/F/M attempted to connect the augmentation of the digital image and the impact this augmentation had on conceptualizing the past through an improvisational approach to intermediality. The issue I have with the determination of images concerns their technological standardization. As long as manufacturers and technicians control this process then the practice of gathering, projecting, and experiencing digital images is predetermined by their commercial obligation. It assures that augmenting the “immense and unexpected field of action” comprising the domain of images is itself a predetermination. References Benjamin, Walter. Illuminations. New York: Schocken Books, 1985. Heble, Ajay. Landing on the Wrong Note. London: Routledge, 2000. Marker, Chris, dir. La Jetée. Argos Films. 1962. Marchessault, Janine, and Susan Lord. Fluid Screens, Expanded Cinema. Toronto: University of Toronto Press, 2007. Peters, Gary. The Philosophy of Improvisation. Chicago: University of Chicago Press, 2009.