This study explores the cognitive and corporeal aspects of choreography as a means of expressing the human subconscious. Recent interdisciplinary research, including studies of somatic intelligence and mirror neurons, suggests that dance can influence human cognitive abilities through psychosomatics. Mirror neurons allow for kinesthetic empathy, enabling dance observers to experience movements, emotions, and experiences as their own. The authors argue that dance, which engages multiple aspects of a person, is a crucial tool for (...) educating the younger generation and should be included in compulsory education programs, rather than just as extracurricular activities. (shrink)

The book is a second volume of the project, which is focused on a systematic examination of aesthetic experience by the unification of philosophical and cognitive-scientific approaches to beauty and aesthetic experience. This volume is focused on the analysis of selected aspects of aesthetic experience, especially on methodological problems and aspects of philosophical and scientific research, the question of the complementarity and compatibility of methods, and needs to interdisciplinary and multidisciplinary research. Authors of the chapters are considering (...) about diverse areas of perception of beauty, e.g.: pleasure by face perception; the synchronicity by music; the problems of musical chills; the psychosomatic unity of dance; or the problem of development of aesthetic appreciation. (shrink)

Background: There is a growing need to offer appropriate services to persons with mild cognitive impairment and dementia who are faced with depression and anxiety distresses beyond traditional pharmacological treatment. Dance-based interventions as multi-dimensional interventions address persons' physical, emotional, social, and spiritual aspects of well-being. However, no meta-analysis of randomized controlled treatment trials has examined the effectiveness of dance-based interventions on depression and anxiety among persons with MCI and dementia, and the results of RCTs are inconsistent. (...) The study aimed to examine the effectiveness of dance-based interventions on depression and anxiety among persons with MCI and dementia.Methods: A systematic review with meta-analysis was conducted. The inclusion criteria were: population: people of all ages with MCI and dementia; intervention: dance-based interventions; control group: no treatment, usual care, or waiting list group; outcome: depression and anxiety; study design: published or unpublished RCTs. Seven electronic databases were searched from 1970 to March 2021. Grey literature and reference lists from relevant articles were also searched and reviewed. The Cochrane “Risk of Bias” tool was used to assess study quality. RevMan 5.4 was used for meta-analysis and heterogeneity was investigated by subgroup and sensitivity analysis. GRADE was applied to assess the evidence quality of depression and anxiety outcomes.Results: Five randomized controlled trials were identified. Sample sizes ranged from 21 to 204. The risk of bias was low, except for being rated as high or unclear for most included studies in two domains: allocation concealment, blinding participants and personnel. Meta-analysis of depression outcome showed no heterogeneity, indicating that the variation in study outcomes did not influence the interpretation of results. There were significant differences in decreasing depression in favor of dance-based interventions compared with controls [SMD = −0.42, 95% CI, p < 0.0001] with a small effect size ; Compared with the post-intervention data, the follow-up data indicated diminishing effects. Dance-based interventions were more effective in reducing depression for persons with dementia than with those having MCI, and were more effective with the delivery frequency of 1 h twice a week than 35 min 2–3 times a week. Also, one included RCT study showed no significant benefit on anxiety rating scores, which demonstrated small effect sizes at 6 weeks and 12 weeks. GRADE analysis indicated the evidence quality of depression was moderate, and the evidence quality of anxiety was low.Conclusions: Dance-based interventions are beneficial to alleviate depression among persons with MCI and dementia. More trials of high quality, large sample sizes are needed to gain more profound insight into dance-based interventions, such as their effects of alleviating anxiety, and the best approaches to perform dance-based interventions. (shrink)

According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience (...) in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed. (shrink)

Dance, as aesthetic self-expression, is a unique arts-based program that combines the physical benefits of exercise with psychosocial therapeutic benefits. While dance has also been shown to support empowerment, meaningful self-expression, and pleasurable experience, it is rarely adopted to support these aspects of engagement in the context of dementia care. The instrumental reduction of dance to its application as a therapeutic tool can be traced to the contemporary movement towards cognitive science with an emphasis on (...) embodied cognition. This has effectively elided a consideration of how the body itself, separate and apart from cognition, could be a source of intelligibility, inventiveness, and creativity. We argue for the need to broaden the therapeutic model of dance to more fully support embodied and creative self-expression by persons living with dementia. To achieve this, we explore how a relational model of citizenship that recognizes corporeality and relationality as fundamental to human existence brings a new and critical dimension to understanding the importance of dance in the context of dementia. Drawing on this model, we articulate a new kind of ethic characterized by a pre-reflective intercorporeal sensibility that requires the mobilization of public structures and practices to cultivate a relational environment for individuals living with dementia that supports human flourishing. (shrink)

Body movement is a primary nonverbal communication channel in humans. Coordinated social behaviors, such as dancing together, encourage multifarious rhythmic and interpersonally coupled movements from which observers can extract socially and contextually relevant information. The investigation of relations between visual social perception and kinematic motor coupling is important for social cognition. Perceived coupling of dyads spontaneously dancing to pop music has been shown to be highly driven by the degree of frontal orientation between dancers. The perceptual salience of other (...) class='Hi'>aspects, including postural congruence, movement frequencies, time‐delayed relations, and horizontal mirroring remains, however, uncertain. In a motion capture study, 90 participant dyads moved freely to 16 musical excerpts from eight musical genres, while their movements were recorded using optical motion capture. A total from 128 recordings from 8 dyads maximally facing each other were selected to generate silent 8‐s animations. Three kinematic features describing simultaneous and sequential full body coupling were extracted from the dyads. In an online experiment, the animations were presented to 432 observers, who were asked to rate perceived similarity and interaction between dancers. We found dyadic kinematic coupling estimates to be higher than those obtained from surrogate estimates, providing evidence for a social dimension of entrainment in dance. Further, we observed links between perceived similarity and coupling of both slower simultaneous horizontal gestures and posture bounding volumes. Perceived interaction, on the other hand, was more related to coupling of faster simultaneous gestures and to sequential coupling. Also, dyads who were perceived as more coupled tended to mirror their pair's movements. (shrink)

I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical (...) styles to divorce themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living body, that Gallagher (...) often draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (shrink)

Some philosochical and cognitive aspects of political gerrymandering are investigated. The basic assumption of gerrymandering practices is that regions be connected. This assumption is questioned, as it seems to result for a cognitive bias for connectedness (a preference for unitary objects).

Summary In the recent discussion, several authors have argued for the claim that propositional faith need not be doxastic, but also can be “non-doxastic”. Notable proponents of this view are William Alston, Robert Audi, Daniel Howard-Snyder, and J. L. Schellenberg. In this paper, I focus on Christian faith and consider whether its cognitive aspect can be understood solely in terms of Alston’s and others’ non-doxastic accounts. I argue for a negative answer. In my view, the cognitive aspect of (...) Christian faith calls for, as a minimum, “a sub-doxastic attitude”. As there is no shared terminology on this topic, a proportion of this paper deals with conceptual clarifications. (shrink)

Part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves,” this essay concerns the third Move, “grace.” The etymology of the word “grace” reveals the entwined meanings of pleasing quality and authoritative power, which may be combined as “beautiful force.” I examine the treatments of grace in German philosopher Friedrich Schiller, who understands it as playful, naive transformation of matter; and in American philosopher John Dewey, for (...) whom it represents rhythmic organism/environment reversal. I conclude by showing how “grace” can be used in analyzing various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

The importance of the topic of the article lies in the need to explain the cognitive aspects of the strategic management system under uncertainty. The purpose of the article is the need to study and substantiate the importance of cognitive aspects of the system of strategic management in conditions of uncertainty; a comparative analysis of different approaches to strategies in conditions of uncertainty, identifying their features and differences from the provisions of the classical strategic management; to (...) classify the angles of the system of strategic management in conditions of uncertainty, comparing different approaches; to characterize cognitive concepts of fast strategies in conditions of uncertainty. The article analyzes the importance of cognitive aspects of the strategic management system in conditions of uncertainty; a comparative analysis of different approaches to strategies in conditions of uncertainty is made, their features and differences from the provisions of classical strategic management are revealed and analyzed; angles of strategic management system in conditions of uncertainty are classified, a comparison of different approaches is made; cognitive concepts of fast strategies in conditions of uncertainty are characterized. At the present stage there is a rather acute need to quickly study the cognitive aspects of the strategic management system under conditions of uncertainty. (shrink)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the (...) effects on the individual when the activity of “dancing” is enjoyedas a dancerwithindifferent dance domains(e.g.,professional/”high-art”type of dance,eroticdance,religiousdance,clubdancing,Dance Movement Therapy(DMT), and what is commonly known ashobby, recreationalorsocialdance), and (b) the effects on the individual within these different domains, as a dancer of thedifferent dance styles(solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body. (shrink)

[First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance (...) for Aristotle and also its applicability to these seven families of dance. One goal of figuration as a whole, and the central goal of this excerpt from that larger project, is to model and justify a dancing aesthetic education pursuant to psychological and political flourishing. (shrink)

This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used in (...) analyzing various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

The trouble of proving the effects of participation lies in the mismatch between three aspects of ownership: physical, legal and psychological. In our interdisciplinary systemic model of ownership, we propose 10 relationships related to ownership/participation from: „A is a part of B” - greatest involvement to „A does not know about B” - the least involvement. „A” and „B” may take different values of: a person, an institution, a community, a group, an object. Once formalized we can view the (...) studies in participation from one, system theory point of view, and formulate hypotheses related to many aspects of ownership. A multilevel analysis with multiple measures of both participation and effectiveness from two data sets has supported the proposed model. (shrink)

This article proposes that despite an explicit emphasis on language in use, the interpretive nature of ethnography and its commitment to examining cultural meanings from the native’s point of view requires inclusion of discourse presumed to relate to cognitive processes such as memory, belief, and imagination. An example of a difficult interaction is used as the basis for an argument that forms of metacommunication often elicited in ethnographic interviews, when unproblematically approached as talk similar to that found in everyday (...) storytelling, are a common avenue for incorporating cognitive aspects of social interaction into such research. (shrink)

There are many entry points into the problem of categorization. Two particularly important ones are the so-called top-down and bottom-up approaches. Top-down approaches such as artificial intelligence begin with the symbolic names and descriptions for some categories already given; computer programs are written to manipulate the symbols. Cognitive modeling involves the further assumption that such symbol-interactions resemble the way our brains do categorization. An explicit expectation of the top-down approach is that it will eventually join with the bottom-up approach, (...) which tries to model how the hardware of the brain works: sensory systems, motor systems and neural activity in general. The assumption is that the symbolic cognitive functions will be implemented in brain function and linked to the sense organs and the organs of movement in roughly the way a program is implemented in a computer, with its links to peripheral devices such as transducers and effectors. (shrink)

The study of the cognitive substrates of pragmatic disorders is a relatively recent development in clinical pragmatics. This development has been ushered in by calls from researchers and clinicians on two fronts. First, it has been urged that the field of pragmatics should undergo a cognitive turn, such that a cognitive examination of pragmatic concepts is afforded equal significance to societal, philosophical and linguistic approaches to the discipline. Second, clinicians have increasingly acknowledged that it is not possible (...) to assess and treat clients with pragmatic disorders in isolation from cognitive concerns. The chapter begins with an examination of the various cognitive processes that play a role in a standard communicative exchange. From this examination the two main components of any cognitive treatment of pragmatic disorders—executive functions and theory of mind—are established. The findings of clinical studies of clients with pragmatic disorders are discussed. These studies suggest an association between cognitive processes such as theory of mind on the one hand and a range of pragmatic impairments on the other hand. Conversational data from clients with pragmatic disorders are used to illustrate these cognitive-based pragmatic impairments. Finally, three theoretical frameworks with the potential to explain the cognitive basis of pragmatic disorders are examined. (shrink)

The paper deals with the understanding of proper names. Though the theme goes across various disciplines – e.g. semantics, epistemology, psychology – the paper examines only selected semantic and cognitive aspects of the problem. The question runs: How should we comprehend the thesis of understanding a proper name as knowing what the name refers to? What kind of knowledge is involved here? The question is posed within the direct reference theory framework enriched by the notion of singular proposition (...) and the compositionality principle. The distinction between an expression and an utterance of it is accepted and the original question is split up accordingly. As for expressions , to understand a proper name is to grasp a meaning axiom along the lines of D. Davidson and J. McDowell. As for utterances of expressions, to understand an utterance of a proper name is to know a piece of information concerning the referent of the name; ideally, it is a fact that can be expressed by an identity statement claiming that the referent of the name under discussion is identical with the individual about which the speaker has a mental file at her disposal. (shrink)

The purpose of the article is to investigate the philosophical and theological validity and coherence of the classical concept of a miracle within the contemporary scientific world view. The main tool in this process will be the cognitive standard model of the formation of religious beliefs operative in the cognitive science of religion. The application of this model shows why an intentional agent is assigned as responsible for the occurrence of events with no visible cause such as a (...) miracle: miracles are events that violate the intuitively expected behaviors observable in the physical reality. It will become evident that much of the conceptual content of the classical understanding of miracles can be retained despite of the ontological and epistemological challenges of the contemporary science. In particular, this concerns the semantic view of miracles in which a miracle does not occur as an objective Divine intervention but qualifies as religious interpretation of the natural course of events always in reference to a cultural and personal context that is unique to those who directly experience these events either as direct recipients or as observers. (shrink)

This is an interdisciplinary study of what is cognitively going on when we interpret, respresent, or evaluate cultural entities, works of art included. In addition, the role of interpretation in experience and in cultural objects is elucidated from a cognitive point of view. The book relies on theories of action, perception, possible worlds, modalities, intentionality. cognition, and brain research, and it contains anumber of case studies. The book ptovides some new insights into some much-discussed problems related to interpretation.

Long before signs of staged toolmaking appeared, Homo erectus made symmetrical tools. The handaxe is a flattened tear-drop shape, but often with edges sharpened all around. Before we assign their obsession with symmetry to an aesthetic judgment, we must consider whether it is possible that the symmetry is simply very pragmatic for one particular use in the many suggested.

Most scholars of emotions concede that although cognitive evaluations are essential for emotion, they are not sufficient for it, and that other elements, such as bodily feelings, physiological sensations and behavioral expressions are also required. However, only a few discuss how these diverse aspects of emotion are related in order to form the unity of emotion. In this essay I examine the co-presence and the causal views, and I argue that neither view can account for the unity of (...) emotions. In particular, both views face the problem of fortuitous connection, and, as a result, they fail to identify and distinguish an emotion from other mental states. Consequently, they fail to account for our first person authority over our emotions. I finally argue that only an internal, conceptual relation between the cognitive/evaluative and affective/physiological aspects of emotion can avoid such problems, and suggest that the Aristotelian distinction of form and matter can provide such internal relation. (shrink)

In this paper I focus on possible boosting factors for the sense of we-agency in joint actions. My aim is to shed light on a factor that, until now, has received little or no consideration at all, and that I call _vitality attunement_. I argue that vitality attunement stands between two other boosting factors for the sense of we-agency—i.e., rhythmic alignment and emotional attunement. Investigating two examples of joint action, i.e., dancing and joint musical performances, I show that vitality attunement (...) is not reducible to either of the other two boosting factors and that it deserves to be studied on its own as a distinctive boosting factor for the sense of we-agency. In order to argue for my thesis, I first introduce some of the most crucial aspects of the sense of we-agency in joint actions, then I analyze how rhythmic alignment and emotional attunement have been argued to foster such an experience, and finally I introduce vitality attunement, describing how it too can be a boosting factor for the sense of we and of we-agency. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course (...) syllabus Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

The article reveals the problem of the ultimate base of cognition as one of the most important since formation of gnoseology and actual in the modern philosophy. The conclusion is drawn that, despite the logic uncertainty, the analysis of a problem of the ultimate bases of knowledge represents methodologically valuable criterion of true. Thus use of the given criterion probably only at synthesis of logic and anthropological aspects that assumes unity of sensual, rational and intuitive ways of knowledge. It (...) allows avoiding the conflict of theory of knowledge and psychology while decision of a problem of the ultimate bases, preserving scientific principles of objectivity and consistency. (shrink)

In today's post-pandemic reality, human capital plays one of the leading roles in ensuring economic growth. The intensification of innovative processes in the context of post-pandemic social constructivism, the widespread use of information technology, intellectualization of labor, etc. In the context of post-pandemic social constructivism, transformations of the content and structure of human capital take place, make adjustments to the process of its formation, accumulation, use and change the nature of the impact of human capital on economic development. In today's (...) post-pandemic reality, there are many problems both in the field of the formation of innovatively oriented human capital and in the sphere of its use, which necessitates the search for ways to effectively manage these processes in order to ensure the balanced development of production factors in the context of the formation of an innovative economy in the country. The article analyzes the main methods and aspects of cognitive psychology that can be useful in the development of human capital. In particular, special attention was paid to the development of emotional intelligence and emotional competence. The reason for choosing precisely such elements of cognitive psychology as the level of emotional intelligence and emotional competence is that they are a prerequisite for successful self-realization of a person and, as a result, an important prerequisite for successful management of human capital in the conditions of post-pandemic social constructivism. (shrink)