The Laboratory as a Site for Research on Acting: relationships between art and science

2021 ◽  
Vol 11 (4) ◽  
Author(s):  
Martín B. Fons Sastre
Keyword(s):  
Performance Practice ◽  
Creative Process ◽  
Performing Arts ◽  
Methodological Framework ◽  
Research Projects ◽  
Art And Science ◽  
New Knowledge ◽  
Object Of Study ◽  
A Site ◽  
Critical Reflections

ABSTRACT This article focuses on new knowledge perspectives proposed by research on onstage practice within the performing arts. It is based on the notion of the laboratory as a backbone, methodological framework, and place for exploring research-creation projects. Our study offers critical reflections on research procedures, taking the actor's creative process as our object of study. We go on to establish a connection between theoretical dimensions and practical expressions, through analysis of two research projects that confront performance practice with its underlying scientific premises. Lastly, different modes for publishing and disseminating the results of research on onstage practice are discussed.

Site, Adapt, Perform: A Practice-as-Research Confrontation with Climate Change

2017 ◽  
Vol 35 (1) ◽  
pp. 111-129 ◽  
Author(s):  
Melanie Kloetzel
Keyword(s):  
Climate Change ◽  
Creative Process ◽  
Adaptive Performance ◽  
Bruno Latour ◽  
Research Methodologies ◽  
Arts Festivals ◽  
A Site

In recent years, arts festivals around the globe have become enamoured of touring, site-based performance. Such serialised site work is growing in popularity due to its accessibility, its spectacular characteristics, and its adaptive qualities. Employing practice-as-research methodologies to dissect the basis of such site-adaptive performances, the author highlights her discovery of the crumbling foundation of the adaptation discourse by way of her creative process for the performance work Room. Combining findings from the phenomenological explorations of her dancing body as well as from cultural analyses of the climate change debate by Dipesh Chakrabarty (2009), Claire Colebrook (2011, 2012), and Bruno Latour (2014), the author argues that only by fundamentally shifting the direction of the adaptation discourse – on scales from global to the personal – will we be able to build a site-adaptive performance strategy that resists the neoliberal drive towards ecological and economic precarity.

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Leonardo ◽  
2021 ◽  
pp. 1-12
Author(s):  
Thanos Polymeneas-Liontiris ◽  
M. Eugenia Demeglio
Keyword(s):  
System Theory ◽  
Performance Practice ◽  
Creative Process ◽  
Experimental Music ◽  
Creative Processes ◽  
Art Based Research ◽  
Different Levels

Abstract This article presents a series of experimental music theatre performances that took place between 2015 and 2017. This art-based research investigates how qualities of the posthuman condition could manifest in experimental music theatre, by applying cybernetic and system theory principles at different levels (i.e. compositionally, aesthetically, dramaturgically) in the creative process. The aim of this article is to present these creative processes and to introduce this type of performance practice, namely cybernetic performance ecosystem.

Grant Opportunities for Academic Liaison with Industry

1999 ◽  
Vol 13 (2) ◽  
pp. 135-141 ◽  
Author(s):  
M.C. Roco ◽  
D. Senich
Keyword(s):  
National Science Foundation ◽  
High Gain ◽  
University Research ◽  
Research Projects ◽  
New Knowledge ◽  
National Science ◽  
Educational Programmes ◽  
Basic Concepts ◽  
Research And Education ◽  
University Industry

Grant Opportunities for Academic Liaison with Industry (GOALI) is a National Science Foundation (NSF) initiative which covers a broad spectrum of university–industry interaction mechanisms, from faculty visits to industry and graduate student industrial assistantships to full scale industry–university research projects. The initiative promotes high-risk/high-gain research with focus on fundamental topics, which would not have been undertaken by industry. It also encourages development of innovative collaborative industry–university educational programmes, and direct deployment of new knowledge between academe and industry. This paper outlines the basic concepts of the initiative, characteristics of the funded research and education projects, and several trends. Illustrations of projects from engineering, manufacturing, environment and education are included.

scholarly journals Intoxicating Impressions: Architecture to enlighten the imagination through the depth of reality

2021 ◽  
Author(s):  
◽  
Amber Marie Gray
Keyword(s):  
New Zealand ◽  
Architectural Design ◽  
Art And Science ◽  
Science And Art ◽  
Wine Region ◽  
A Site ◽  
Relationship Of ◽  
Taste And Smell

<p>Wine is created from the delicate and fragile craft of winemaking, a craft reliant on the balance of both science and art. Wine translates qualities and experience of space and creation through the sense of taste and smell. Intoxicating impressions rediscovers the artistic nature of this craft through the space of a winery. It proposes an architecture of engagement.  Impressionist painting offers an immersive representation of the qualities and atmosphere of space. This immersive effect creates an engagement of the viewer's imagination within the depicted scene. The painting's execution is based on both science and art through the representation of the intangible. This exploration resulted in testing architectural concepts of 'dissipation of light' and 'blurring of boundaries' to enhance the architectural experience to engage the imagination of the inhabitant.  From these concepts, architecture allows the inhabiting of intangible qualities. The landscape presents itself as an ephemeral tool to mediate this relationship of art and science having an imperative role within the winemaking craft. The architectural design becomes a tool to immerse the user within the craft that it houses and within the landscape where the craft of winemaking occurs and upon which it relies upon.  This winery is designed for a site in the Hawke’s Bay wine region of New Zealand and follows a brief designed to materialise intangible and immaterial qualities of space. This is to engage the inhabitant within the environment and the winemaking craft. The architectural design allows the exploration of the intangible, balanced, vulnerable and fragile nature of a craft that is balanced by a scientific reality.</p>

scholarly journals Intoxicating Impressions: Architecture to enlighten the imagination through the depth of reality

2021 ◽  
Author(s):  
◽  
Amber Marie Gray
Keyword(s):  
New Zealand ◽  
Architectural Design ◽  
Art And Science ◽  
Science And Art ◽  
Wine Region ◽  
A Site ◽  
Relationship Of ◽  
Taste And Smell

<p>Wine is created from the delicate and fragile craft of winemaking, a craft reliant on the balance of both science and art. Wine translates qualities and experience of space and creation through the sense of taste and smell. Intoxicating impressions rediscovers the artistic nature of this craft through the space of a winery. It proposes an architecture of engagement.  Impressionist painting offers an immersive representation of the qualities and atmosphere of space. This immersive effect creates an engagement of the viewer's imagination within the depicted scene. The painting's execution is based on both science and art through the representation of the intangible. This exploration resulted in testing architectural concepts of 'dissipation of light' and 'blurring of boundaries' to enhance the architectural experience to engage the imagination of the inhabitant.  From these concepts, architecture allows the inhabiting of intangible qualities. The landscape presents itself as an ephemeral tool to mediate this relationship of art and science having an imperative role within the winemaking craft. The architectural design becomes a tool to immerse the user within the craft that it houses and within the landscape where the craft of winemaking occurs and upon which it relies upon.  This winery is designed for a site in the Hawke’s Bay wine region of New Zealand and follows a brief designed to materialise intangible and immaterial qualities of space. This is to engage the inhabitant within the environment and the winemaking craft. The architectural design allows the exploration of the intangible, balanced, vulnerable and fragile nature of a craft that is balanced by a scientific reality.</p>

scholarly journals Tempo Digital: Quando a escola invade o smartphone

2020 ◽  
pp. 62-67
Author(s):  
Maria Luísa Luís Duarte
Keyword(s):  
Young People ◽  
Creative Process ◽  
Electronic Devices ◽  
School Context ◽  
Digital Natives ◽  
Work Of Art ◽  
History Of ◽  
Current Context ◽  
History Of Culture ◽  
Object Of Study

This article derives from the master’s research in which it seeks to understand what uses the teenagers of this generation, known as millennials (or digital natives), are giving to their smartphones in a given Portuguese school context. Bearing in mind that our young people (as well as adults) spend a large part of their time “clinging” to small electronic devices, the present investigation looks at this problem as an opportunity to produce artistic content through a didactic use. At the same time, it helps young “producer / consumer” students to recognize themselves in the production of subjectivity inherent in certain work proposals carried out within the scope of the History of Culture and Arts. Starting from the concepts inherent to the disciplines of Artistic Education and the selection and study of a work of art, and having self-representation as the object of study, the student (re) creates (the work selected by himself) through the use of the smartphone, mobilizing skills transversal (technical, aesthetic and methodological) in a process that wants to be creative. In the creative process several aspects are contemplated that can, and should, be deepened, namely the question of time. The time we live in is an unexpected time! Time of seclusion, distance, confinement! We seek to ask whether the current context of confinement can provide an opportunity to reflect on the didactic use of the smartphone to produce artistic content while maintaining the principles of equality and equity.

scholarly journals Creatividad en la enseñanza de español para negocios

2017 ◽  
Author(s):  
Marta Pilar Montañez Mesas
Keyword(s):  
Key Words ◽  
Creative Process ◽  
Computer Programs ◽  
Specific Group ◽  
Group Key ◽  
Palabras Clave ◽  
New Knowledge

Resumen: La creatividad forma parte del aprendizaje, especialmente en ELE, también para fines específicos como español para los negocios. El proceso creativo pone orden en los nuevos conocimientos o contenidos y, al mismo tiempo, el resultado genera satisfacción en el aprendiz. En otras palabras, aprendemos mejor cuando la tarea nos interesa o nos emociona. Existen varios tipos de tareas creativas, pero podrían agruparse en dos: algunas de ellas requieren el manejo de programas informáticos y otras son de tipo retórico o literario. En las tareas que aquí se proponen, el aprendiz es el protagonista de su aprendizaje y ha de crear de la nada un texto original e inédito. Finalmente, la creatividad es útil pero tiene que adaptarse a cada grupo específico. Palabras clave: creatividad, ELE, español para fines específicos, español para los negocios, B1-B2 Abstract: Creativity is part of learning, especially in SFL, also in Spanish for Specific Purposes like Spanish for business. Creative process put order in new knowledge or contents and, at the same time, the results make the student happy. In other words, we learn better when we are interested in the task or it produces us emotions. In general, there are two types of creativity tasks: some of them need computer programs and others are rhetorical or literary. In the tasks that are proposes here the student is the protagonist of his learning and he has to create of nothing some original and unpublished text. Finally, creativity is useful but it has been adapted to the specific group. Key words: creativity, SFL, Spanish for Specific Purposes, Spanish for business, B1-B2

Engineering Design as Research

2012 ◽  
pp. 1766-1779
Author(s):  
Timothy L.J. Ferris
Keyword(s):  
Decision Making ◽  
Research Projects ◽  
Design Work ◽  
Engineering Research ◽  
Is Research ◽  
New Knowledge ◽  
Potential Applications ◽  
Actual Design ◽  
Physical Phenomena ◽  
The Impact

Research is defined as an activity that creates new knowledge. This is often misunderstood in the engineering community as necessarily requiring a scientific contribution that advances the theory of some matter related to engineering materials or processes. Consequently, typical engineering research projects investigate physical phenomena thought likely to be interesting in potential applications or to describe the characteristics of processes used in engineering work. The results of such projects provide a fragmented, abstracted view of the phenomena investigated, which is difficult to use in engineering decision making related to contextualised situations. This chapter shows how the actual design of engineered artefacts is research because it provides knowledge of the impact of the integration of various elements of existing knowledge, which demonstrates the properties of the designs achieved through the design work and leads to discovery of solutions to the various challenges of integration discovered through the project which attempts to achieve the integration.

Digital Humanities in Singapore

2019 ◽  
pp. 91-117
Author(s):  
Miguel Escobar Varela ◽  
Andrea Nanetti ◽  
Michael Stanley-Baker
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Performing Arts ◽  
Digital Humanities ◽  
Museum Studies ◽  
Research Projects ◽  
Formal Institutions ◽  
Current Trends ◽  
Heritage Studies ◽  
High Degree

In Singapore, digital humanities (DH) is inclusive of the larger spectrum of the humanities, including not only its traditional disciplines (e.g., languages and literature, philosophy, law, geography, history, art history, musicology) but also anthropology, heritage studies, museum studies, performing arts, and visual arts. Multilingual, interdisciplinary, and audiovisual projects are particularly prominent. A community is growing around an emergent concept of DH, and it is developing results mainly in society-driven research projects. Although the DH label is relatively new, and DH dialogue across Singapore institutions is at its early stages, Singapore-based researchers have carried out digital research for decades. An increasing number of projects are home-grown, but several projects have also migrated to Singapore recently due to the high degree of mobility at Singaporean institutions. Current trends suggest that the next stage of DH history in Singapore will include the development of more formal institutions and more participation in global DH conversations.

Instructor Presence in Online Distance Classes

2010 ◽  
pp. 1216-1219
Author(s):  
Janet Lear
Keyword(s):  
Student Learning ◽  
Instant Messaging ◽  
Online Environment ◽  
Face To Face ◽  
Instructor Presence ◽  
New Knowledge ◽  
The Face ◽  
Online Distance ◽  
A Site ◽  
E Mail

Instructor presence are words that call to mind a professor at the front of a classroom lecturing to a room full of students. Today the image associated with instructor presence is quite different. The vision is one of an individual engaged with the student, leading, and mentoring students, and facilitating classes either visibly in the classroom or invisibly in the online environment. Instructor presence is a broad phrase that refers to the instructor’s jobs of structuring and presenting the materials as well as providing feedback and engaging with the student academically through e-mail, by telephone, or by instant messaging either text or video. The roles are different but the outcome is the same, student learning. Gone are the days where the instructor was the center of the class, lecturing and passing along knowledge to students. Because today’s learner is actively involved in the building of new knowledge, learning is more student-focused. As the environment changes, the instructor assumes a variety of roles from designer to facilitator to mentor. The new roles are the same for both instructors in the face-to-face classroom and instructors in the online environment. Instructors for classes in the online environment cannot just compile a site for the class with materials available to the students. Instructors need to have an online presence as they facilitate the class mentoring students, providing activities, encouraging students, and communicating with student on a regular basis.

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