Living in Counterpoint

2021 ◽  
pp. 473-489
Author(s):  
Norah Zuniga Shaw
Keyword(s):  
Creative Process ◽  
Collaborative Research ◽  
Interactive Media ◽  
New Work ◽  
Contemporary Life ◽  
General Readership ◽  
Compositional Structures

This chapter provides a deep description of William Forsythe’s One Flat Thing, reproduced and the choreographic structures and dramaturgy used to create it. The dance is presented as an example of physical thinking that can be taken up by readers as (1) a portal into understanding William Forsythe’s creative process and body of work; (2) a generative collection of compositional structures useful in composing new work in contemporary ballet and other fields; and (3) a resource for recognizing pattern amid complexity and thriving in the uncertainty and entanglement of contemporary life. The chapter builds on collaborative research with Forsythe and weaves together selections from interviews and texts originally published in interactive media interfaces and other resources not previously available to a general readership.

Helmut Lachenmann's Staub: a compositional, aesthetic and sociopolitical approach

2018 ◽  
Author(s):  
Abel Paúl
Keyword(s):  
Creative Process ◽  
New Work ◽  
40Th Anniversary ◽  
Musical Tradition ◽  
Ninth Symphony ◽  
The Aesthetic

In 1985 Helmut Lachenmann was commissioned a new composition that would be premiered at the commemoration of the 40th anniversary of the SWF-Sinfonieorchester. This commission implied a fixed program in which the new work would be performed together with Beethoven's Ninth Symphony. Such combination of works presupposed that the new composition could not remain on an indifferent level, but should effectively show Lachenmann's personal reaction towards Beethoven's symphony. In fact, "Staub" is one of Lachenmann's most relevant responses to the problems and conditionings derived from the confrontation with musical tradition. "Staub" offers a particular approach to Beethoven's Ninth and encapsulates most of Lachenmann's representative musical and aesthetic standpoints after the seventies. This composition is characterized by the inclusion of concealed references to Beethoven's Ninth among Lachenmann's intricate cosmos of unexpected and newly crafted sonorities. The nature and the particular treatment given to these references raises several issues: the nature of the technical procedures used in their process of inclusion and adaptation to the new piece, the aesthetic and philosophical intentionality behind this inclusion, the extent of the listener's capabilities of identification and association, etc. This essay attempts to elucidate the importance and the ultimate extent of the bonds established between these works. In order to accomplish this, I will look at "Staub" from various angles: historical, structural, sonic and perceptual, trying to understand the main features and particularities of Lachenmann's creative process.

Artistic Dialogue and Artistic Exchange through Movement

2012 ◽  
Vol 2012 ◽  
pp. 81-84
Author(s):  
Brian Jeffery
Keyword(s):  
New Work ◽  
Two Cultures ◽  
Artistic Process ◽  
Artistic Collaboration ◽  
New Meanings ◽  
The Two Cultures ◽  
Compositional Structures ◽  
The Aesthetic ◽  
Artistic Values ◽  
Dialogic Space

This article will narrate the process of working in artistic collaboration utilizing traditional Ghanaian dance forms and Western dance-making methods while incorporating a common artistic thread between the two cultures. Invited to create a new work of choreography for the Ghana Dance Ensemble (GDE), the author as guest artist choreographer explored ways of creating a hybrid dance work that honored the artistic footprint of GDE. The choreographer engaged company members, consisting of both dancers and musicians, in daily rehearsals and dialogue about the artistic process and the aesthetic roots from which each artist was grounded. Compositional structures were explored cross-culturally. Traveling out to several field sites, the choreographer was able to view and participate in sacred ceremony for more grounding and artistic information. From this process, a dialogic space was created in which new meanings were shared between cultures and traditional artistic values re-imagined. Dialogue through conversation was not the only exchange of importance. An additional dialogue was that of dancing bodies viewing each other, adapting and integrating change firmly grounded in each other's originating aesthetic footprint. Equally important was the exchange in a culture where it is inherent that the music sounds the dance and the dance moves the music. Thus the dialogue extended itself where the choreographer tried on new ways of thinking about the sounding body just as GDE integrated the choreographer's approaches and made it their own through their own processes of creative invention.

scholarly journals Creative and emotional labour

2019 ◽  
pp. 128-145
Author(s):  
Alexandra Colta
Keyword(s):  
Human Rights ◽  
Creative Process ◽  
Collaborative Research ◽  
Film Festival ◽  
Film Festivals ◽  
Research Project ◽  
Emotional Labour ◽  
Academic Scholarship ◽  
Made In

Film festival curation and programming remain highly individualistic practices, that negotiate several discourses/tensions, including the responsibility of the curator to others (artists and audiences) and the creative independence of the curator. Much remains to be written about the creative process of curation, and how aesthetic judgements are articulated by those who practice it. While progress in this direction has been made in relation to some festivals (LGBT, African), human rights film festivals have only recently started to be part of academic scholarship, which tended to focus on the main functions and spectatorship roles that they encourage (Tascón; Tascón and Wils; Davies). This article focuses on the creative process of programming human rights film festivals using the case study of Document Human Rights Film Festival in Glasgow. Part of a practice-led collaborative research project between the Universities of Glasgow, St Andrews and the festival, this article is based on my reflections and experience as a co-opted member of the programming team for the 2016 and 2017 editions. Drawing on practice-led ethnography, I argue that this festival adopted a form of ethical programming, sharing authorship and responsibility towards the audience, the filmmakers and the profession, as well as a form of emotional labour.

scholarly journals PROSES KREATIF ZAINAL BETA DALAM PENCIPTAAN LUKISAN MEDIA TANAH LIAT

2020 ◽  
Vol 3 (2) ◽  
pp. 106-117
Author(s):  
SepBianti Rangga Patriani
Keyword(s):  
Qualitative Research ◽  
Creative Process ◽  
Research Method ◽  
Life Experiences ◽  
Research Data ◽  
New Work ◽  
Artistic Creativity ◽  
Cultural Life ◽  
The Social ◽  
Creative Artists

Creative artists are people who cultivate their imagination to always explore art through experimental and trial methods. Experiments carried out by an artist in creating a new work of art are part of an original creative process. As is the case, Zainal Beta is a regional artist in Makassar who develops his artistic creativity by painting using clay media. The purpose of this study was to determine the stages of Zainal Beta's creative process as a clay painter. This research method is described descriptively analysis using the creativity approach. This qualitative research data was obtained through observation, interviews, documentation studies, and literature review. The conclusion of this research is that the stages of the creative process that Zainal Beta went through in the creation of clay painting works originated from inventions accidentally. This discovery motivated Zainal Beta to continue to explore his painting experience using clay media. He continued to develop his creativity in painting using bamboo blades as a painting tool. He used the bamboo slats to make a scratch in painting. Related to the visualization of the object, Zainal Beta clay painting works tend to present the theme of the social and cultural life of the area where he lives, which is depicted in a naturalist and expressive style. The embodiment of the painting object is a representation of various life experiences obtained by Zainal Beta as a clay painter in Makassar.

Choreographing American Dance Archives: Artist-Driven Archival Projects by Eiko & Koma, Bebe Miller Company, and Jennifer Monson

2018 ◽  
Vol 50 (1) ◽  
pp. 80-101
Author(s):  
Rosemary Candelario
Keyword(s):  
Creative Process ◽  
Digital Technologies ◽  
New Work ◽  
Live Performance ◽  
Artistic Production

Choreographers have begun experimenting with artist-driven archives using digital technologies, exhibitions and installations, and live performance as a way to generate new work from their own archival materials and increase access to their body of work for audiences. This article focuses on three recent artist-driven archive projects by notable American choreographers Eiko & Koma, Bebe Miller Company, and Jennifer Monson. Drawing on interviews with the choreographers as well as on analyses of the three projects, I suggest that these projects' most important contribution is the idea that archives are not separate from a choreographer's body of work, but are indeed a part of his or her creative process and artistic production.

Video Games and Emotion Regulation

GeroPsych ◽  
2018 ◽  
Vol 31 (4) ◽  
pp. 205-213 ◽  
Author(s):  
Kathryn L. Ossenfort ◽  
Derek M. Isaacowitz
Keyword(s):  
Older Adults ◽  
Emotion Regulation ◽  
Video Games ◽  
Age Differences ◽  
Interactive Media ◽  
Age Groups ◽  
Younger Adults ◽  
Media Usage ◽  
The Everyday ◽  
Media Preferences

Abstract. Research on age differences in media usage has shown that older adults are more likely than younger adults to select positive emotional content. Research on emotional aging has examined whether older adults also seek out positivity in the everyday situations they choose, resulting so far in mixed results. We investigated the emotional choices of different age groups using video games as a more interactive type of affect-laden stimuli. Participants made multiple selections from a group of positive and negative games. Results showed that older adults selected the more positive games, but also reported feeling worse after playing them. Results supplement the literature on positivity in situation selection as well as on older adults’ interactive media preferences.

Insights Into the Creative Process of the Therapist

1978 ◽  
Vol 23 (6) ◽  
pp. 431-432
Author(s):  
SUSAN D. DEVOGE
Keyword(s):  
Creative Process
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