scholarly journals Máquina Curupirá: dispositivos de um corpo em criação na fronteira entre o xamanismo amazônico e o teatro

2019 ◽  
Vol 4 (7) ◽  
pp. 86
Author(s):  
Andréa Flores
Keyword(s):  
Creative Process ◽  
The Body ◽  
Political Attitude ◽  
Deep Forest ◽  
The Creation

ResumoTenho denominado de Máquina Curupirá o processo criativo que desenvolvo como pesquisa poética acerca das comicidades indígenas da Amazônia, que tem a imagem do lendário Curupira com os pés virados para trás como atitude poética e política de um corpo que se quer deformado, fora da forma, do comportamento e do pensamento colonizado. Neste artigo, cartografo três intensidades do acontecimento cênico em processo, a saber, a multiplicidade do corpo por economia da alteridade; a adoção da atitude de atriz-xamã; e a negação do acontecimento como espetáculo, aproximando-o da noção de Máquina. Em cada intensidade, atravesso a criação pelo meio, reconhecendo os dispositivos com os quais opero, em cena, o transver, o riso entre indígenas amazônicos em ficções e fabulações contaminadas de trapaças, malinagens e epistemologias xamânicas da floresta profunda, que questionam o caminhar com os pés virados para frente.AbstractI have named as Curupirá Machine the creative process that I develop as poetic research about indigenous comicalities from the Amazon, which has the image of the legendary Curupira with his feet facing back as poetic and political attitude of a body that recognizes itself as deformed, out of colonized shape, behavior and thought. In this article, I map three intensities of the scenic happening in process: the multiplicity of the body by economy of otherness; the adoption of the attitude of actress-shaman; and the denial of the happening as a spectacle, bringing it closer to the notion of Machine. On each intensity, I cross the creation from the middle of it, recognizing the devices with which I run, on the scene, the act of transver the laughter among Amazonian indigenous into fictions and fabulations contaminated with cheating, tricks and shamanistic epistemologies of the deep forest, that question the walking with the feet facing forward.

Mirror As Inspiration In The Creation Of Artworks

2021 ◽  
Vol 7 (3) ◽  
pp. 1009
Author(s):  
Kerine Claudya Wijaya ◽  
Ariesa Pandanwangi ◽  
Belinda Sukapura Dewi
Keyword(s):  
Qualitative Study ◽  
Experimental Method ◽  
Creative Process ◽  
The Body ◽  
Inner Life ◽  
Work Of Art ◽  
Creation Process ◽  
Works Of Art ◽  
The Creation ◽  
Relationship Of

<p>Every artist has the goal of creating works of art that cannot be separated from the spiritual feelings experienced daily. The creative process of creating this work of art is initiated from the mirror which will be explored in the work of art. The method used is descriptive qualitative study and experimental method. The problem in this creation process is how the phenomenon that occurs when humans feel unhappy in their inner life so that they feel depressed, even judged between individuals, both physically and non-physically. The result of this creation process is a puzzle arrangement which is a metaphor for the results of reflection as well as the spiritual relationship of the soul with the body that has been experienced in living and contemplating life. The message conveyed through this work is that humans must understand each other.</p><p>Setiap seniman memiliki tujuan menciptakan karya seni yang tidak lepas dari perasaan spiritual yang dialami sehari-hari. Proses kreatif penciptaan karya seni ini digagas dari cermin yang akan dieksplorasikan pada karya seni. Metode yang dipergunakan adalah studi metode deskriptif kualitatif dan metode eksperimental. Permasalahan dalam proses penciptaan ini bagaimana fenomena yang terjadi ketika manusia merasakan perasaan tidak bahagia dalam kehidupan batinnya sehingga merasa tertekan, bahkan dinilai antar individu, baik secara fisik maupun non fisik. Hasil dari proses penciptaan ini adalah susunan puzzle yang merupakan metafora dari dari hasil refleksi sebagaimana hubungan spiritual jiwa dengan tubuh yang telah berpengalaman dalam penjalanan hidup dan perenungan hidup. Pesan yang disampaikan melalui karya ini adalah manusia harus saling memahami antara satu dengan lainnya</p>

scholarly journals Texto encarnado: uma estratégia de Descolonização

Ouvirouver ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 148
Author(s):  
Renata Bittenourt Meira
Keyword(s):  
Academic Writing ◽  
Creative Process ◽  
The Body ◽  
Free Form ◽  
Significant Movement ◽  
Somatic Education ◽  
The Creation ◽  
And Performance ◽  
Education Academic ◽  
A Performance

As experiências de criação textual juntamente com a criação de performances, apresentadas e analisadas, tem como objetivo central conectar a pesquisa e o corpo. A temática das criações foram as pesquisas acadêmicas desenvolvidas nos programas de pós graduação em artes cênicas do Instituto de Artes da Universidade Federal de Uberlândia. Intimamente vinculados à ecologia de saberes e à interculturalidade os processos de criação se deram no campo da sensibilização somática e do movimento significativo. A metodologia foi experimentar o projeto de mestrado por meio da criação de uma performance e criar um texto de formato livre com espaço para manifestação de subjetividade e poesia. A proposta foi provocar o estudante de pós graduação a perceber que existe um campo invisível no conhecimento, que estrutura ou desestrutura sua pesquisa. Acessar a pesquisa por meio da corporeidade é uma busca por revelar as crenças que atravessam nossas ideias sem que percebamos, nestas crenças se estabelecem processos de colonização. Os textos e as performances resultantes mostraram que as conexões entre corpo e escrita geraram a aproximação entre o pesquisador e sua pesquisa. ABSTRACT Writing and performance were a creative process. The issue was connecting arts academic researchs with the body. The processes of creation occurred through the somatic sensitization and significant movement. The methodology was the experience of the masters project through the creation of a performance and create a free form text. The goal was to notice an invisible field in knowledge, which structures their research. The texts and performances criated by fourty students showed that the connections between body and writing approximed the researcher and his research. KEYWORDS Creative process, somatic education, academic writing.

A Rapture of the Nerds? A Comparison between Transhumanist Eschatology and Christian Parousia

2019 ◽  
Vol 24 (2) ◽  
pp. 343-367
Author(s):  
Roberto Paura
Keyword(s):  
Human Brain ◽  
Point Theory ◽  
The Body ◽  
Christian Theology ◽  
Human Beings ◽  
Human Species ◽  
The Future ◽  
The Creation ◽  
The Universe

Transhumanism is one of the main “ideologies of the future” that has emerged in recent decades. Its program for the enhancement of the human species during this century pursues the ultimate goal of immortality, through the creation of human brain emulations. Therefore, transhumanism offers its fol- lowers an explicit eschatology, a vision of the ultimate future of our civilization that in some cases coincides with the ultimate future of the universe, as in Frank Tipler’s Omega Point theory. The essay aims to analyze the points of comparison and opposition between transhumanist and Christian eschatologies, in particular considering the “incarnationist” view of Parousia. After an introduction concern- ing the problems posed by new scientific and cosmological theories to traditional Christian eschatology, causing the debate between “incarnationists” and “escha- tologists,” the article analyzes the transhumanist idea of mind-uploading through the possibility of making emulations of the human brain and perfect simulations of the reality we live in. In the last section the problems raised by these theories are analyzed from the point of Christian theology, in particular the proposal of a transhuman species through the emulation of the body and mind of human beings. The possibility of a transhumanist eschatology in line with the incarnationist view of Parousia is refused.

scholarly journals Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

scholarly journals Put Your Style at Stake: A New Use of Sustainable Entrepreneurship

2017 ◽  
Vol 39 (2-3) ◽  
pp. 397-415 ◽  
Author(s):  
Christian Garmann Johnsen ◽  
Lena Olaison ◽  
Bent Meier Sørensen
Keyword(s):  
Creative Process ◽  
Environmentally Friendly ◽  
Social Practices ◽  
Organization Studies ◽  
Sustainable Entrepreneurship ◽  
Conceptual Distinction ◽  
The Creation ◽  
Point Of Departure

This article uses the concept of style to rethink sustainable entrepreneurship. Our point of departure is the conceptual distinction between organization as style made durable and entrepreneurship as the disruption of style. We show that style is not simply an aesthetic category, but rather what ties different social practices together. While organization makes the connections between social practices durable, entrepreneurship disrupts such patterns. We further elucidate how organization and entrepreneurship are two intermingled processes – those of durability and disruption – that together enable the creation of new styles. In order to conceptualize this creative process, we explore how play can create disharmonies within the organization, but we also maintain that any new practice will remain marginal without a collective assemblage capable of adopting it. On this basis, we argue that sustainable entrepreneurship consists of making an environmentally friendly and socially conscious style durable, but also of disrupting such a style. In order to illustrate our argument, we use the example of the sustainable smartphone producer Fairphone. In conclusion, we argue that the concept of style may strengthen the dialogue between entrepreneurship studies and organization studies.

scholarly journals Wavelet introscopy of human organism bionets

2021 ◽  
pp. 63-72
Author(s):  
Gennady M. Aldonin ◽  
◽  
Vasily V. Cherepanov ◽  
Keyword(s):  
Functional State ◽  
Human Body ◽  
Dynamic Models ◽  
Golden Ratio ◽  
The State ◽  
The Body ◽  
Human Organism ◽  
Fractal Structures ◽  
Self Similar ◽  
The Creation

In domestic and foreign practice, a great deal of experience has been accumulated in the creation of means for monitoring the functional state of the human body. The existing complexes mainly analyze the electrocardiogram, blood pressure and a number of other physiological parameters. Diagnostics is often based on formal statistical data which are not always correct due to the nonstationarity of bioprocesses and without taking into account their physical nature. An urgent task of monitoring the state of the cardiovascular system is the creation of effective algorithms for computer technologies to process biosignals based on nonlinear dynamic models of body systems since biosystems and bioprocesses have a nonlinear nature and fractal structure. The nervous and muscular systems of the heart, the vascular and bronchial systems of the human body are examples of such structures. The connection of body systems with their organization in the form of self-similar fractal structures with scaling close to the “golden ratio” makes it possible to diagnose them topically. It is possible to obtain detailed information about the state of the human body’s bio-networks for topical diagnostics on the basis of the wavelet analysis of biosignals (the so-called wavelet-introscopy). With the help of wavelet transform, it is possible to reveal the structure of biosystems and bioprocesses, as a picture of the lines of local extrema of wavelet diagrams of biosignals. Mathematical models and software for wavelet introscopy make it possible to extract additional information from biosignals about the state of biosystems. Early detection of latent forms of diseases using wavelet introscopy can shorten the cure time and reduce the consequences of disorders of the functional state of the body (FSO), and reduce the risk of disability. Taking into account the factors of organizing the body’s biosystems in the form of self-similar fractal structures with a scaling close to the “golden ratio” makes it possible to create a technique for topical diagnostics of the most important biosystems of the human body.

scholarly journals Espaços deslocados: poéticas de interação entre arte e tecnologia

REPERTÓRIO ◽  
2017 ◽  
pp. 298
Author(s):  
Regina Miranda
Keyword(s):  
Performing Arts ◽  
Empty Space ◽  
Scenic Design ◽  
The Body ◽  
Theoretical Contribution ◽  
Art And Technology ◽  
Geometric Configurations ◽  
The Creation ◽  
New Interactions ◽  
The Relationship

<p class="p1">Resumo:</p><p class="p2">Ao tomar como contexto teórico as pesquisas em Harmonias Espaciais desenvolvidas pelo teórico de movimento Rudolf Laban na primeira metade do século XX, este artigo considera o longo predomínio da visão de um <em>alguém</em> que habitava um <em>espaço vazio </em>separado do corpo e aponta perspectivas contemporâneas, que<em> </em>tornaram o<em> </em>espaço entre/em ambos mais fluido e plástico. A contribuição teórica aqui apresentada indicou a necessidade da inclusão de configurações geométricas mais instáveis no campo Labaniano e também a criação de percursos para a encarnação de conceitos, que pudessem representar essas novas interações. Como um dos territórios da pesquisa artística que fundamenta esta narrativa, o encontro com a tecnologia foi explorado, inicialmente, como uma forma de ampliar a experiência corpo-espacial dos atuantes formais e informais de uma performance, oferecendo a possibilidade de um desenho cênico que incluía a articulação entre espaços físicos e virtuais e de conexões espaciais de livre escolha. Mais recentemente, a relação se ampliou em uma experiência interdisciplinar de criação cênica e coreográfica em interatividade com processos computacionais. Nos exemplos apontados, o que rege a escolha das tecnologias é o interesse artístico e conceitual de investigar como cada tecnologia pode colaborar na criação, deslocamento e distorção de espaços performáticos.</p><p class="p3"><span class="s1">Palavras-chave: </span>Arte e tecnologia. Artes cênicas. Campo labaniano. Corpo-espaço. Performance imersiva.</p><p class="p3"> </p><p>SHIFTING SPACES: POETICS OF INTERACTION BETWEEN ART AND TECHNOLOGY</p><p class="p1"><em>Abstract:</em></p><p class="p5"><em>Embracing as theoretical context the Space Harmonies’ research developed by movement theorist Rudolf Laban during the first half of the 20th century, this paper considers the long predominance of the vision of someone who inhabited an empty space separated from the body, and points toward contemporary perspectives, which have made the space between/in both more fluid and plastic. The theoretical contribution presented here indicated the need to include more unstable geometric configurations in the Labanian field and the creation of paths for the incarnation of concepts, which could represent these new interactions. As one of the areas of artistic research that underlies this narrative, the encounter with technology was initially explored as a way to broaden the body-space experience of the formal and informal participants of a performance. It offered the possibility of a scenic design that included the articulation between physical and virtual spaces and free-choice spatial connections. More recently, the relationship expanded in an interdisciplinary experience of scenic and choreographic creation in interactivity with computational processes. In the mentioned examples, what defines the choice of the technologies is the artistic and conceptual interest to investigate how each technology can collaborate in the creation, displacement and distortion of performative spaces.</em></p><p class="p3"><span class="s1"><em>Keywords: </em></span><em>Art and technology. Performing arts. Labanian field. Body-space. Immersive performance.</em></p>

scholarly journals George French Angas and the Creation of Colonial Knowledge in New Zealand

2021 ◽  
Author(s):  
◽  
Catherine Falconer-Gray
Keyword(s):  
New Zealand ◽  
Vital Role ◽  
The Body ◽  
Middle Ground ◽  
Cultural Encounter ◽  
The Creation ◽  
The Aesthetic ◽  
Natural Historian ◽  
British Culture ◽  
New Zealanders

<p>In 1844, George French Angas, the English traveller, artist, natural historian and ethnographer spent four months travelling in New Zealand. He sought out and met many of the most influential Maori leaders of the time, sketching and recording his observations as he went. His stated intention was to provide a ‘more correct idea’ of New Zealand and the New Zealanders. In Australia and then Britain he held exhibitions of his work and in 1847 he published two works based on this time in New Zealand: a large volume of full-colour lithographs, The New Zealanders Illustrated and a travel narrative based on his journal, Savage Life and Scenes in Australia and New Zealand. These exhibitions and publications comprised the nineteenth century’s largest collection of works about Maori and Maori culture. This thesis is a study of the ‘more correct idea’ that Angas sought to provide: his creation of colonial knowledge about Maori. Angas is most commonly described in New Zealand as being an unremarkable artist but as providing a window onto New Zealand in the 1840s. This thesis opens the window wider by looking at Angas’s works as a record of a cultural encounter and the formation of a colonial identity. The works were shaped by numerous ideological and intellectual currents from Britain and the empire, including humanitarianism and the aesthetic of the picturesque. Ideas about gender and the body form a central part of the colonial knowledge created in Angas’s work. Particularly notable is what this thesis terms ‘sartorial colonisation’ – a process of colonisation through discourse and expectations around clothes. Angas also travelled and worked in a dynamic middle ground in New Zealand and Maori played a vital role in the creation of his works. Angas represented Maori in a sympathetic light in many ways. Ultimately however, he believed in the superiority of the British culture, to the detriment of creating colonial knowledge that placed Maori as equal partners in the recently signed Treaty of Waitangi. This thesis also examines the ways in which Angas’s body of work has been engaged with by the New Zealand public through to the present. As a study of the products of a British traveller who spent time in other parts of the empire as well as in New Zealand, this thesis contributes to histories of New Zealand, and British imperial and transcolonial history.</p>

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