scholarly journals instance: Soma-based multi-user interaction design for the telematic sonic arts

2021 ◽  
Vol 26 (3) ◽  
pp. 390-402
Author(s):  
Lucy Strauss ◽  
Kivanç Tatar ◽  
Sumalgy Nuro
Keyword(s):  
Interaction Design ◽  
Performing Arts ◽  
User Interaction ◽  
The Body ◽  
Digital Music ◽  
Network Interface ◽  
Embodied Experience ◽  
Iterative Design ◽  
Performance Space ◽  
And Performance

The telematic work instance is a performance for viola and dance that digitally connects performers in Vancouver and Cape Town. The network interface enables a violist and a dancer to simultaneously play multi-user digital music-dance instruments over the internet with music and dance. The composition, design and performance interaction of instance draw from acoustic multi-user instrument paradigms and music-dance interactions in the African performing arts to explore the idiosyncrasies of the telematic performance space. The iterative design process implements soma-based research methods to inspire sonic compositional material with the body and to explore the performers’ embodied experience of sonic aesthetics during their interaction.

Training for Sustained Performance: Moving Toward Long-Term Musician Development

2013 ◽  
Vol 28 (3) ◽  
pp. 159-168 ◽  
Author(s):  
Terry Clark ◽  
Tânia Lisboa
Keyword(s):  
Performing Arts ◽  
Well Being ◽  
The Body ◽  
Young Student ◽  
Diverse Range ◽  
Sustained Performance ◽  
Mental Demands ◽  
And Performance ◽  
Effective Use

Success in the performing arts, like sports, is dependent upon the acquisition and consistent use of a diverse range of skills. In sports, an understanding of safe and effective use of the body is required to facilitate long-term involvement in that activity. In order to assist athletes to attain their performance goals, and ensure healthy and sustained involvement, long-term athlete development (LTAD) models have been devised and adapted by professional sporting bodies throughout the world. LTAD models emphasize the intellectual, emotional, and social development of the athlete, encourage long-term participation in physical activities, and enable participants to improve their overall health and well-being and increase their life-long participation in physical activity. At present there is no such long-term development model for musicians. Yet musicians must cope with a multitude of career-related physical and mental demands, and performance-related injuries and career burnout are rife within the profession. Despite this, musicians’ training rarely addresses such issues and musicians are left largely to learn about them through either chance or accrued experience. This paper discusses key concepts and recommendations in LTAD models, together with music-specific research highlighting the need for the development of a comprehensive long-term approach to musicians’ training. The results of a survey of existing music training programs are compared to recommendations and the different development stages in LTAD models. Finally, implementation science is introduced as a methodological option for identifying how best to communicate the body of evidence-based knowledge concerning healthy and effective music-making to young student musicians.

scholarly journals Dancing dress: Experiencing and perceiving dress in movement

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 67-80
Author(s):  
Jessica Bugg
Keyword(s):  
Lived Experience ◽  
The Body ◽  
Theory And Practice ◽  
Contemporary Dance ◽  
Embodied Experience ◽  
Clothing Design ◽  
Physical Response ◽  
And Performance ◽  
Global Conference

Clothing design for dance is an area that has been little documented, particularly in relation to the experience and perception of the dancer. Contemporary dance and clothing can both be understood as fundamentally phenomenological and as such there is further potential to investigate the lived experience of wearing clothing in dance. This article approaches dress in the context of the moving and dancing body, and it aims to develop an understanding of the role of dress in dance by focusing on the sensory, embodied experience and perception of the performer. It addresses questions of how clothing is perceived in movement by the performer, how and if clothing’s design intention, materiality and form motivate physical response, and what conscious or unconscious cognitive processes may be at play in this interaction between the active body and clothing. The intention is to propose developed methods for designers across clothing disciplines to contribute in a meaningful way to the overall dance work. The article draws on an analysis of my practice-led research that employs embodied experience of dress to inform the design and development of clothing as communication and performance. The research has involved close collaboration with a dancer, analysis of recorded interviews, and visual documentation of design and movement. The research has produced data on the dancer’s experience and perception of garments in performance and this is discussed here in relation to writings on perception, performance, the body and cognition. The research is approached through theory and practice and draws on interviews, observation and lived experience. This article is developed from an earlier conference paper that investigated the role and developed potential of clothing in contemporary dance that was presented at the 4th Global Conference: Performance: Visual Aspects of Performance Practice, Inter-Disciplinary.Net, held in Oxford on 17–19 September 2013.

scholarly journals Presença e morte: o carácter efémero das artes do corpo.

2021 ◽  
Author(s):  
Pedro Bessa ◽  
Mariana Assunção Quintes dos Santos
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Fine Arts ◽  
Classical System ◽  
Physical Object ◽  
The Body ◽  
Contemporary Dance ◽  
The Arts ◽  
Technical Reproducibility ◽  
And Performance

This paper aims to reflect on a hypothetical threshold-space between contemporary dance and performance art, questioning at the same time the prevalence of too strict a boundary between them. To this end, a range of works involving hybridization of artistic languages ​​were selected and analyzed, from Signals (1970) by American dancer and choreographer Merce Cunningham to Café Müller (1978) by German choreographer Pina Bausch. Both dance and performance art are ephemeral arts or, according to the classical system, arts of time as opposed to the arts of space - painting, sculpture and architecture. They have also been called allographic arts, performative arts or, perhaps more specifically, arts of the body (Ribeiro, 1997). Unlike traditional fine arts, which materialize in a physical object other than the body, unlike video-art and cinema, arts without originals, mediated by the process of “technical reproducibility” (Benjamin, 1992), performative arts require the presence of a human body - and the duration of the present - as a fundamental instrument for their realization. In that sense, the paper also focuses on the ephemerality factor associated with dance and performing arts, and the consequent devaluation these have suffered vis-à-vis other artistic practices, considered to be academic and socially more significant.

scholarly journals Magic on Wheels: A Study of Re-engagement, Re-enactment and Re-staging the Stereotypes of Performativity and Performance of Persons with Disabilities in the Choreography of Syed Sallauddin Pasha

2021 ◽  
Vol 13 (3) ◽  
Author(s):  
Radhika Sharma ◽  
◽  
Nagendra Kumar ◽  
Keyword(s):  
Disability Studies ◽  
Performance Studies ◽  
Performing Arts ◽  
The Body ◽  
Disabled People ◽  
Negative Stereotypes ◽  
Persons With Disabilities ◽  
The Disabled ◽  
And Performance ◽  
Art And Activism

Amidst society’s segregation of the people among minorities on the basis of gender, race, caste and creed, it is difficult to locate the position of another extreme social minority, i.e. persons with disabilities. But the turn of the century has validated some art and activism performed by persons with disabilities due to which the disabled have marked their position in literature, film and media to some extent, yet they have not secured a position of dignity in the mainstream. To make disabled people visible, Syed Sallauddin Pasha (the father of Indian dance therapy for persons with disabilities) initiates his own Natya Shastra i.e. Classical Wheelchair Dances for differently-abled artists. Drawing upon Syed Sallauddin Pasha’s therapeutic dance choreography, the present paper studies performance arts in the context of differently-abled people, and for this, the paper explores the intersection of Performance Studies and Disability Studies. In performing arts (or dance in particular), the body is the medium of representation, likewise, the body defines the identity in the context of disabled people. Therefore, the paper by studying the intersection of Disability Studies and Performance Studies, explores the stereotypes related to the body by scrutinising the disabled dance bodies on the stage. The paper further attempts to explore the idea of accessibility for persons with disabilities by taking into account the assistive devices and accessible architecture. The study then goes into an analysis of spectators’ response, stare and gaze towards disability dance performances. In a broader context, the paper offers to scrutinise the negative stereotypes attached to disability and disabled dancing bodies on stage by exploring the nuances in Syed Sallauddin Pasha’s choreography.

Moving Studies: Somatic-Performative Research in a Wide Dance Field

2014 ◽  
Vol 2014 ◽  
pp. 75-82
Author(s):  
Ciane Fernandes
Keyword(s):  
Performing Arts ◽  
Graduate Program ◽  
A Priori ◽  
The Body ◽  
Power Relationships ◽  
Dynamic Nature ◽  
Quantitative And Qualitative Research ◽  
Starting Point ◽  
And Performance ◽  
Object Of Study

This is a presentation of the principles of somatic-performative research with application to the audience's research. The proposal has been developed over ten years of artistic-scientific research at the Graduate Program of Performing Arts of Federal University of Bahia, Salvador BA, Brazil. The approach associates Somatic Education and Performance in dance research, especially regarding inner impulse in relation to the environment and collective awareness in a micro-macro political attitude.While quantitative and qualitative research deals with practice as an object of study, in performative research, practice is in itself a research method (Haseman 2006). Somatic-performative research is defined and organized by thesomatic practice (“experienced body”), transforming the ephemeral nature of dance into the research'smodus operandi. From the starting point of inter-artistic moving principles with/in the environment, the object of study becomes a creative, live, and relational subject. Therefore, studies and methods become contaminated by the subject's dynamic nature, melting any prejudice ora priorisettings. In an unpredictable, autonomous, yet integrated, pulsing that destabilizes borders, discourses, and manners, dance becomes a spread-out medium of studies (rather than something to be studied).As an integrated “soma,” dance research constantly dis-re-organizes “the way we form things,” subverting power relationships and discourses over art and the body. Somatic-performative exploration dilutes the separation and conflict between practice and theory, body and mind, art and science, dynamic multidimensional movement and fixed linear record, human and environment, place and non-place, matter and energy. In a connecting quantumspacetime, “being” is permanently perceived and reinvented as trans-cellular intelligence in movement or creative somatic wisdom in a “culture of becoming” with/in a “deep ecology.”

scholarly journals Construction and Performance Applications of an Augmented Violin: TRAVIS II

2020 ◽  
Vol 44 (2-3) ◽  
pp. 55-68
Author(s):  
Chantelle Ko ◽  
Lora Oehlberg
Keyword(s):  
Real Time ◽  
Creative Process ◽  
The Body ◽  
Electric Signal ◽  
Interactive Performance ◽  
Left Hand ◽  
Performance Space ◽  
Interface System ◽  
Dream State ◽  
And Performance

Abstract We present the second iteration of a Touch-Responsive Augmented Violin Interface System, called TRAVIS II, and two compositions that demonstrate its expressivity. TRAVIS II is an augmented acoustic violin with touch sensors integrated into its 3-D printed fingerboard that track left-hand finger gestures in real time. The fingerboard has four strips of conductive PLA filament that produce an electric signal when fingers press down on each string. Although these sensors are physically robust, they are mechanically assembled and thus easy to replace if damaged. The performer can also trigger presets via four sensors attached to the body of the violin. The instrument is completely wireless, giving the performer the freedom to move throughout the performance space. Although the sensing fingerboard is installed in place of the traditional fingerboard, all other electronics can be removed from the augmented instrument, maintaining the aesthetics of a traditional violin. Our design allows violinists to naturally create music for interactive performance and improvisation without requiring new instrumental techniques. The first author composed two compositions to highlight TRAVIS II: “Dream State” and “Kindred Dichotomy.” Both of these compositions involve improvisation in their creative process and include interactive visuals. In this article we describe the design of the instrument, experiments leading to the sensing fingerboard, performative applications of the instrument, and compositional considerations for the resultant pieces.

THE 'STUFF’ OF LIFE: MATERIAL PLAY AND PERFORMANCE IN DIGITAL VIDEO CULTURES AND CONTEMPORARY ART PRACTICE

2020 ◽  
Author(s):  
Katherine Nolan
Keyword(s):  
Visual Culture ◽  
Digital Video ◽  
The Body ◽  
User Generated Content ◽  
Embodied Experience ◽  
Art Practice ◽  
Art Works ◽  
Sensory Qualities ◽  
And Performance ◽  
Material Form

Play and performance with materials and objects can be observed as a trope across digital video cultures. Forms such as slime making tutorials, prank stunts, ASMR and unboxing videos employ different forms of interaction that serve to emphasise material form and sensory qualities. Activities can include pouring viscous glue, crushing tin cans, exploding watermelons, nails tapping on plastic or sinking into sand. Sound, visual and material are employed to create a ‘haptic visuality’ (Marks, 2000) as an affective embodied experience. I will analyse these video cultures as presented in the algorithmic context of YouTube and its claim to user-generated content. Through a DIY culture aesthetic and frame, materials are represented as everyday: the 'stuff’ of life. I will unpack the mimetic representation of ‘reality’ through which these videos function, employing Cowie’s concept of ‘desire for the real’ and Auslander’s discussion of ‘liveness’ in a mediated society (Cowie, 2011; Auslander 1999). I will contextualise this discussion in wider visual culture, drawing parallels with historical and contemporary performance art works. In particular the online practices of David Henry Nobody Jr. and Jan Hakon Erikson, which use play with domestic materials, objects and food to provoke abject, sadistic and absurd voyeuristic pleasures. I will discuss how these works reveal, mobilise, parody and subvert such digital video cultures. In this way, I aim to trace and analyse how this sensory play with material works to ‘hook’ the body of the viewer as a means of harnessing affective labour within the digital economies.

A Digital Archive in the Circus: Between the Archive and the Repertoire

2014 ◽  
Vol 153 (1) ◽  
pp. 98-106
Author(s):  
David Carlin
Keyword(s):  
Performing Arts ◽  
Digital Archive ◽  
Performance Space ◽  
Digital Performance ◽  
And Performance ◽  
The Many ◽  
A Site ◽  
Cultural Sector ◽  
A Company

This article discusses the phenomenon of the digital archive, in the context of performance practice and studies, as a potential liminal performance space blurring the boundaries between archive and repertoire (Taylor 2003). It takes the Circus Oz Living Archive as a case study to examine the opportunities and challenges facing cultural organisations wanting to take charge of the multimodal telling of their own histories, as digital technologies impact on practices of remembrance, archiving and performance in the cultural sector. The governing metaphor of the archive shifts from the spatial – a site of recorded memory – to the temporal – an unfolding event of memory. This presents a great challenge for a performing arts company like Circus Oz, which already faces the task of delivering its live show to audiences around the world. How does such a company think through the many issues arising in relation to adding this new digital performance to its repertoire?

Moving in the Cityscape: Performance and the Embodied Experience of the Flâneur

1999 ◽  
Vol 15 (4) ◽  
pp. 308-317 ◽  
Author(s):  
Petra Kuppers
Keyword(s):  
Human Body ◽  
Performing Arts ◽  
The Body ◽  
Embodied Experience ◽  
Contemporary Theory ◽  
Modern Life ◽  
Is Research ◽  
Research Fellow ◽  
Metropolitan University

Walter Benjamin's concept of the flâneur has been widely used to conventionalize ‘the disinterested voyeur, the lonely figure haunting the streets of cities, the person who watches the spectacle of modern life’. Petra Kuppers argues that the flâneur is as central to the ‘nineties cityscape as to that of Baudelaire's Paris, of which Benjamin was writing, or to his own inter-war Berlin. She responds to feminist and other objections and, while recognizing the validity of later writings on the nature of the body such as Foucault's, argues that the flâneur remains valuable in counterbalancing ‘aspects of contemporary theory that use the human body as metaphor’ with the physicality of ‘a lived set of material practices and inscribed discourses’. To illustrate and develop her argument she uses moments from Kathryn Bigelow's film Strange Days (1996), performances by the Austrian group Bilderwerfer and by Francesca Vilalta-Ollé, and the camera-dance made for TV, Pace (1996). Petra Kuppers is Research Fellow in Performing Arts at Manchester Metropolitan University.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

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