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Related to kinaesthetically: kinesthetically
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Adv.1.kinaesthetically - in a kinesthetic manner; by means of kinesthesia; "he can perceive shapes kinesthetically"
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These activities highlight the connection between mathematics and dance, and allow students to collaboratively learn mathematics concepts kinaesthetically in a real-world context.
Whether students learn visually or kinaesthetically, their needs can be met easily and efficiently.
Not insisting on a story line; letting oneself go along kinaesthetically with the movements shown on stage.
According to Felder & Silverman (1988), people gathered information kinaesthetically through visual and verbal inputs.
The YuMi Deadly Maths Program is based on two imperatives: first, that mathematics can empower all people's lives if understood as a conceptual structure, life-describing language and problem-solving tool; and second, that all people can excel in mathematics if taught kinaesthetically, contextually, with respect and with high expectations.
FOR someone who thought she had two left feet it was a relief to hear I was kinaesthetically aware.
Michelle Wickenden, customer and business development manager at e-Quality Learning said: "Our model is based on our trainers identifying the learner's learning style; whether they learn audibly, visually and/or kinaesthetically, this then helps them create a tailor made programme.
Although reaction to the present "here" can be strengthened in performance in that it is directly presented and kinaesthetically available to the audience, a character's ongoing yearning for a distant "there" can be a very powerful vector.
We all know from primary school that children love to see and handle objects rather than just read about them, particularly children who learn kinaesthetically.
but thematizing the "kinaesthetics of undergoing" in particular by turning to the affective register (for example, to what I can directly feel somaesthetically, in my own body) and appreciating the way in which I am kinaesthetically "welcoming" or "barring off" whatever I feel, sensing how I am moving-with the shifting vectors and valences as they emerge, or else "freezing up," inhibiting their flow.
Iconic-static representational media on the other way, conveying the sense of movement by a fixed image, seem less suitable to make the observer resound kinaesthetically since they fail in reproducing a sensible muscular and empathic echo in his/her body.
With The Tactile Eye, Barker extends this sensual scholarship and explores cinematic tactility as "a general attitude toward the cinema that the human body enacts in particular ways: haptically, at the tender surface of the body; kinaesthetically and muscularly, in the middle dimension of muscles, tendons, and bones that reach toward and through cinematic space; and viscerally, in the murky recesses of the body, where heart, lungs, pulsing fluids, and firing synapses receive, respond to, and reenact the rhythms of cinema" (3).