Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe

2010 ◽  
Vol 42 (1) ◽  
pp. 61-72 ◽  
Author(s):  
Sabine Huschka
Keyword(s):  
Installation Art ◽  
Art Practice ◽  
Public Performance ◽  
Open Spaces ◽  
Movement Perception ◽  
Movement Performance ◽  
Interactive Relationship ◽  
The Media ◽  
The Spectator

Since Ballet Frankfurt was reconstituted as the Forsythe Company in 2004, William Forsythe has increasingly explored formats of installation art practice. Works such as Human Writes (in collaboration with Kendall Thomas, 2005) and You made me a monster (2005) develop within an interactive and intermedial space and experiment with new ways to experience the production and perception of movement. “Performance installation” is the new term for this intertwined process of movement production and movement perception. The choreographic composition itself grows out of procedures of performative sensing by the dancers, which spreads to onlookers. This multiplex awareness of movement for which the dancer's body is the medium constitutes what I shall call the “media-body” as an essential moment of performance installation as choreographic event. Compared to earlier Forsythe installations—which he called “choreographic objects”—like White Bouncy Castle (1997), City of Abstracts (2000), or Scattered Crowd (2002), with their accessible spaces of movement (in White Bouncy Castle the spectator was a visitor moving about freely inside a white inflatable castle, and City of Abstracts featured choreographic projections of movement on large screens in open spaces) performance installations take place squarely in the theatrical context: in theater lobbies, exhibit halls, or accessible public performance spaces where dancers and the audience come together in a mutually shared yet operationally divided space that leads them into an interactive relationship.

Tiresian Journeys

2008 ◽  
Vol 52 (4) ◽  
pp. 174-182 ◽  
Author(s):  
Petra Kuppers
Keyword(s):  
New York ◽  
The Body ◽  
Public Performance ◽  
Public And Private ◽  
The Gaze ◽  
Disability Culture ◽  
The Media ◽  
Extreme Performance ◽  
Performance Project ◽  
Union Square

Given the media frenzy over Hillary Clinton's unsuccessful presidential bid, and the ensuing questions about the state of feminism, it seems a serendipitous moment to feature two pieces—written by the women who conceived and performed them—that offer very different but complementary takes on agency, identity, and the conflation of the public and private as one's body becomes the locus of the gaze. Petra Kuppers's dramaturgical meditation on her experiences as part of Tiresias, a disability culture performance project, investigates erotics, change, mythology, and identity. A collaboration between photographers, writers, and dancers, the project, occurring over six months in 2007, posits the body as the site at which myth might be reshaped and movement might become poetry. Lián Amaris critically analyzes her feminist public performance event Fashionably Late for the Relationship, which took place over three days in July 2007 on the Union Square traffic island in New York City. Informed by Judith Butler's citational production of gender, the piece focused on exposing and critiquing the marked visibility of gender construction and maintenance within an extreme performance paradigm.

Performing the ‘lifeworld’ in public education campaigns

2010 ◽  
Vol 1 (2) ◽  
pp. 284-310 ◽  
Author(s):  
Michelle M. Lazar
Keyword(s):  
Public Education ◽  
Rap Music ◽  
Dual Processes ◽  
Public Performance ◽  
New Approach ◽  
The Public ◽  
Local Television ◽  
The Media ◽  
Education Campaigns ◽  
Real Person

In Singapore, top down public education campaigns have long been a mode of governance by which the conduct of citizens is constantly regulated. This article examines how in two fairly recent campaigns, a new approach to campaign communication is used that involves media interdiscursivity, viz., the mixing of discourses and genres in which the media constitute a significant element. The present approach involves the appropriation of a popular local television character, ‘Phua Chu Kang’, in order to address the public through educational rap music videos. Media interdiscursivity is based on an attempt to engage the public via a discourse of the ‘lifeworld’. The present article analyzes the ‘lifeworld’ discourse in terms of a combination of two processes, ‘informalization’ (the use of informal and conversational modes of address) and ‘communitization’ (the semiotic construction of a community of people). The dual processes are examined and discussed in relation to the choice of Phua Chu Kang as an ‘ordinary’ and almost ‘real’ person, including his informal register and speech style; his use of Singlish; and his construction of ‘community.’ The presence of Singlish, in particular, is interesting because (despite the official disdain for the language) it is included as part of PCK’s public performance of the lifeworld. The article concludes by considering this form of media interdiscursivity as the government’s shrewd way of achieving its social governance goals.

scholarly journals Interactive Marketing E-Commerce Recommendation System Driven by Big Data Technology

2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Yi Fu ◽  
Min Yang ◽  
Di Han
Keyword(s):  
Big Data ◽  
Recommendation System ◽  
Reference Model ◽  
Relevant Literature ◽  
Force Model ◽  
Interactive Marketing ◽  
Marketing Innovation ◽  
Interactive Relationship ◽  
The Media ◽  
Big Data Technology

This study combs through relevant literature, adopts a combination of typical sampling and random sampling, collects three big data technology-driven interactive marketing e-commerce companies in a specific period of Sina Weibo sample data for research, obtains historical information and data, and constructs a model. Through relevant analysis to eliminate invalid variables, we creatively selected three variables of Internet hot words, activities, and microtopics as independent variables and used marketing effects as dependent variables to carry out empirical analysis and study the marketing innovation of three representative companies based on big data technology. We discussed the use of self-media in interactive marketing e-commerce and the situation of marketing innovation based on self-media, focusing on the interactive relationship between marketing innovation and Internet word-of-mouth (brand image). Through research, we have derived the three-force model, which is the biggest result of this research, and provided a reference model for interactive marketing e-commerce companies to carry out follow-up marketing innovation based on the media. Limited to the level of research and ability, there are some deficiencies in the research, such as barrage marketing, big data marketing, and emotional computing, that have not been analyzed in depth. This article fully considers the dependence of small and medium e-commerce companies on e-commerce platforms in the era of big data and conducted detailed market research on their precision marketing strategies in the era of big data. This will be a new field that does not come from media marketing. This article intends to summarize a series of experiences and laws from special to general, from individuality to generality, so as to give full play to the role of personalized marketing in increasing website traffic and order conversion, in order to personalize the use of data by other e-commerce companies with marketing provides some valuable experiences and methods for reference.

scholarly journals Surface and light

2019 ◽  
pp. 169-178
Author(s):  
Melanie Wilmink
Keyword(s):  
Case Studies ◽  
Installation Art ◽  
Single Channel ◽  
Embodied Experience ◽  
Moving Image ◽  
Space And Time ◽  
Short Films ◽  
Curatorial Practice ◽  
The Spectator

Utilising case studies from my curatorial practice, this paper discusses the balance between research and creation, and elaborates on exhibition projects that centre the spectator within an embodied experience of the moving image. While some of my curatorial practice includes installation art that literalises the space of the image, including Urbanity on Film (2009), and The Situated Cinema Project; in camera (2015), other programs have achieved this same effect within a single-channel screening format, including Radiant Bodies (2015) and Dirt City Rock Fantasy: The Short Films of Trevor Anderson (2016). By treating the moving image as an experience that incorporates the space and time of the viewer’s body, these curatorial projects explore the idea of artwork as a phenomenological tool, creating exciting environments while simultaneously advancing knowledge through the process of being with the artwork.

Performance and the philosopher’s costume: Richard Shusterman as the Man in Gold

2020 ◽  
Vol 5 (1) ◽  
pp. 13-31
Author(s):  
Eric Mullis
Keyword(s):  
Public Performance ◽  
Philosophical Inquiry ◽  
Interdisciplinary Field ◽  
Artistic Collaboration ◽  
Movement Performance

This article discusses philosopher Richard Shusterman’s artistic collaboration with Yann Toma which entails the use of costume, photography and public performance. The project advances the interdisciplinary field of somaesthetics and raises questions about conventions of professional philosophy, including what philosophers conventionally wear and how philosophical inquiry is advanced. Aspects of costume theory and contemporary movement performance are used to analyse Shusterman’s autobiographical methodology and the project’s performative aims.

Denaturalizing Time: On Kris Verdonck's Performative Installation End

2014 ◽  
Vol 39 (1) ◽  
pp. 47-56 ◽  
Author(s):  
KATIA ARFARA
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Single Point ◽  
Point Of View ◽  
Major Influence ◽  
Human Society ◽  
Work Of Art ◽  
The Spectator ◽  
The 1960S ◽  
Space Art

Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists’ performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.

scholarly journals A Vida é Bela: Institutionalisation Processes and Sensemaking through the Media

2014 ◽  
Vol 26 ◽  
pp. 47-70
Author(s):  
João Figueira
Keyword(s):  
Media Culture ◽  
Sense Making ◽  
Brand Name ◽  
Public Performance ◽  
National Media ◽  
Key Issues ◽  
The Media

Sense making is the main goal of the Organisation’s strategy. Actually, the communica- tion by the media represents one of the key issues in the Organisation’s life. That requires to the Organisations that they should be familiar and have some expertise about the media culture and their routines. The Portuguese company A Vida é Bela achieved, between 2005-2012, around 4,558 issues about them in the national media. That public performance shows how an Organisa- tion could play a leading act through the media with the purpose of attracting some prestige to their brand name.

scholarly journals Experience and sexuality education in creation of audiovisual installation

2021 ◽  
Vol 10 (6) ◽  
pp. e39610615627
Author(s):  
Alif Sukma Muclisin
Keyword(s):  
Sexuality Education ◽  
Installation Art ◽  
Educational Structure ◽  
Sex And Sexuality ◽  
The Media ◽  
Three Stages ◽  
The Creation

Experience and education on sexuality is a unity of things / events experienced by individuals / groups regarding sex and sexuality which are then reduced to an informal educational structure. The purpose of this research is to explain  the concept of artwork that underlies the creation of the audiovisual installation and the process of visualization of artwork on the creation of audiovisual installation. The media for creating works that are applied is an audiovisual installation art. Inspired by the previous works of Julian Rosefeldt (Manifesto), Gerda Wegener (Solitaire), Mella Jaarsma (Potong Waktu) and Halsey (Album Manic). The method of creation is based on Laura H. Chapman's theory with three stages, namely Inception of Idea, Elaboration and Refinement, and Execution in a Medium.

Fantasy Sports and Gambling in Sport

2018 ◽  
pp. 82-96 ◽  
Author(s):  
Amber A. Ditizio
Keyword(s):  
Communication Technologies ◽  
The Self ◽  
Fantasy Sports ◽  
Sports Media ◽  
Personal Involvement ◽  
Traditional Research ◽  
The Media ◽  
Media Research ◽  
The Spectator ◽  
Traditional Roles

Modern sports/media complex may be the result of complex inactions of communication technologies, social developments, and the increased sophistication of businesses in understanding the intrinsic and extrinsic aspects of consumer behavior. From the promotion options of print media, television and radio, to the self-engaging aspects of Internet sport coverage and gaming, the spectator is rapidly becoming an integral part of the branding process. Media, especially fantasy sports, has transcended the traditional roles of television's function as agents of exposure to engagement and personal involvement in athletic contest and its merchandising. Although the media aspect may been neglected in sports research, media research traditionally has considered sports too popular for traditional research. This paper explores some of the major topics for research that combines sports and newer forms of media exploitation for marketing purposes.

The answerability of false hope: Examining the unexpected outcomes of the Finnexia® public art intervention

2021 ◽  
Vol 11 (1) ◽  
pp. 55-75 ◽  
Author(s):  
Lisa Erdman
Keyword(s):  
Creative Process ◽  
Ethical Issues ◽  
Secondary Level ◽  
Art Practice ◽  
Public Performance ◽  
Ethical Considerations ◽  
Railway Station ◽  
Self Reflection ◽  
Art Intervention ◽  
Unexpected Outcomes

This article examines the unexpected ethical issues that emerged from Finnexia®, a performance art intervention. Finnexia consisted of an advertisement campaign for a fictitious medication that helps people learn the Finnish language. Presented in the Helsinki Central Railway Station, the Finnexia performance aimed to generate a space for public dialogue about the experience of immigrants in Finland and the process of learning the Finnish language. On a secondary level, Finnexia presented a satirical critique towards the excess of medicalization in society. Through a detailed description of the Finnexia performance and its outcomes, the author examines the complexity of ethical issues that emerged from the Finnexia performance. The responsibility of the artist is discussed in the context of public performance in art practice and in artistic research. The author proposes that artists approach ethical considerations during the creative process through self-reflection, dialogue with fellow performers and in consultation with experts in the field.

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