scholarly journals Body and camera in motion — a dialogue between film and contemporary dance theater based on the experience gained in the making of the experimental art documentary Tensity

2021 ◽  
Vol 15 ◽  
pp. 51-64
Author(s):  
Konrad Kultys
Keyword(s):  
Screen Time ◽  
Contemporary Dance ◽  
Artistic Creation ◽  
Film Editing ◽  
Experimental Art ◽  
Artistic Value ◽  
Dance Theater ◽  
The Relationship

The paper presents the relationship between the worlds of film and dance theater, and the ways in which the medium of the performing body can be translated onto the screen by the director and cinematographer. By analyzing his own experiences and related artistic decisions made during the realization of the experimental documentary Tensity, the author looks at the clash of two different media and the relations that may result from the effort to translate dance theater performance into traditional film medium. Along with the change of medium, the nature of the work also changes and a completely new artistic value is created, enriched with elements unknown to theater, such as film editing, camera work and, finally, screen time. A film work based on the theatrical medium becomes a separate artistic creation, allowing the director and the cinematographer to build upon the foundation of the performative art of the actor/dancer.

Vídeo experimental e autorretrato

2021 ◽  
Author(s):  
Filomena Antunes Sobral ◽  
Daniela Morgado Oliveira
Keyword(s):  
Crucial Role ◽  
Point Of View ◽  
The Self ◽  
Self Awareness ◽  
Cindy Sherman ◽  
Artistic Creation ◽  
Multiple Variable ◽  
The Relationship ◽  
Theoretical Foundations ◽  
Creative Production

In the development of the relationship between the artist and his artistic creation, the deconstruction of concepts and ideas within the scope of artistic praxis leads to the reflection of the crucial role that the artist has in the conception and meaning of the work. His creative production, in turn, appropriates not only the expressive force of the author to assert itself as an artistic creation, but can also assume to be the reflection of the self, its identity and materializes in the form of self-portrait. The self-portrait expands the artist’s interiority, externalizing concerns and questions, and conveys a subjective point of view about himself and his view of art. But how does self-portrait contribute to self-awareness? And how does the artist reveal himself and communicate beyond his appearance?Based on these questions, the objective of this paper is to provide a reflection on self-portrait presenting the results of an artistic installation project that involved photographic language in the form of self-portrait and experimental video to represent feelings of disquiet. Influences such as Cindy Sherman, Lais Pontes or Francesca Woodman, whose creations approach the self-portrait in a not only original, but critical style, stand out.It is a project of academic and artistic nature supported by theoretical foundations. The results allow us to conclude that the artistic installation, which began by presenting a self-portraying self-seeking identity, frees itself from its creator to enhance multiple variable interpretations depending on the observer’s attention.

Sleep Among Children

2019 ◽  
pp. 93-118 ◽  
Author(s):  
Judith Owens ◽  
Monica Ordway
Keyword(s):  
United States ◽  
Social Media ◽  
Screen Time ◽  
The United States ◽  
Sleep Health ◽  
Developmental Issues ◽  
Infancy And Childhood ◽  
The Social ◽  
Relationship Of ◽  
The Relationship

This chapter focuses on the developmental issues that impact sleep during infancy and childhood and link to adult sleep. For example, it examines differences in sleep across childhood as well as the relationship of pediatric and adult sleep health and specific issues such as mother–child bedsharing. The chapter discusses the social determinants of sleep for children—for example, increasing screen time and social media involvement, impact of bedtime routines, the mismatch of school hours to the biology of sleep in teenagers (e.g., highlighting that a reason that high schools start at 8 AM in the United States is so that parents can drop them off before they take off on their long commutes to work).

The Freedom of the Press

2020 ◽  
pp. 107-133
Author(s):  
Maggie Gray
Keyword(s):  
Social Relations ◽  
Historical Research ◽  
The Political ◽  
Aesthetic Theory ◽  
Community Arts ◽  
Artistic Value ◽  
The Arts ◽  
The Press ◽  
The Relationship

This chapter engages with important strands of scholarship on comics work, arguing for a critical comics studies that attends to the political economy, social relations, and material processes of production. It examines the relationship between struggles over the organization of cultural labor and the forms of value inscribed in comics, via the case study of a specific site of British comics production that reimagined how comics work could be organized and the artistic value comics could have– the cooperative Birmingham Arts Lab Press (1969-1982) and its Ar:Zak imprint. Bringing together archival inquiry and participant interviews, wider historical research into the arts lab, alternative press, community arts and underground/alternative comics movements, and Marxist political and aesthetic theory, this chapter analyzes how struggles for an autonomous, democratized, participatory creative practice that took place within this context of comics production were embodied in the material and visual form of the comics made.

Uthoff, Ernst (1904–1993)

2018 ◽  
Author(s):  
Sydney Jane Norton
Keyword(s):  
South America ◽  
Nazi Germany ◽  
Contemporary Dance ◽  
Dance Theater ◽  
Dance Training ◽  
Big City ◽  
Professional Dance ◽  
Dance Companies ◽  
The University ◽  
A Company

Ernst Uthoff was a German-born dancer, choreographer, and company director who received his dance training from two pioneers of Tanztheater (dance-theater): Kurt Jooss and Sigurd Leeder. He was one of the original members of the Folkwang-Tanzbühne (Folkwang Dance Stage), a company that Jooss and Leeder co-founded in 1927, and Uthoff created and performed several important roles for Jooss. As a performer he is best known for his roles of the Standard Bearer in The Green Table (1932) and the Libertine in Big City (1932). In 1934 Uthoff fled Nazi Germany together with his wife, the Hungarian dancer Lola Botka, Jooss, and other company members. The troupe settled at Dartington Hall in England, where its dancers opened a Jooss–Leeder school and performed under the name Ballets Jooss. Ballets Jooss toured South America in 1941, during which time the Chilean government invited Uthoff, Botka, and solo dancer Rudolf Pescht to remain in Chile to establish a school of contemporary dance. The three settled in Santiago that same year, co-founding the Escuela de Danzas (School of Dance). Soon after, Uthoff, Botka, and Pescht established the Ballet Nacional Chileno (National Ballet of Chile), a state-financed company based at the University of Chile in Santiago. Ballet Nacional Chileno was one of Chile’s first nationally sponsored professional dance companies, and it is still flourishing today.

scholarly journals The Relationship Between Screen Time and Sleep Duration in Children

2018 ◽  
Vol 50 (5S) ◽  
pp. 453
Author(s):  
Joseph Carlson ◽  
Nara A. Paulsen ◽  
Breanne Carlson ◽  
Erich J. Petushek ◽  
Karin A. Pfeiffer
Keyword(s):  
Sleep Duration ◽  
Screen Time ◽  
The Relationship

Aesthetic A Priori and Embodied Imagination

2019 ◽  
Vol 5 (1) ◽  
pp. 143-160
Author(s):  
Dalius Jonkus ◽  
Keyword(s):  
A Priori ◽  
Reproductive Activity ◽  
Max Scheler ◽  
Artistic Creation ◽  
The World ◽  
The Relationship ◽  
Free Activity ◽  
Embodied Imagination ◽  
Aesthetic Expression

This paper discusses the modern idea of imagination and its various transformations in the phenomenological conceptual frameworks of Edward Casey, Mikel Dufrenne (1910-1995), Max Scheler (1874-1928) and Vasily Sesemann (1884-1963). I would like to raise and critically assess questions regarding the role of imagination in our consciousness: whether imagination is a productive or reproductive activity; and how, if at all, aesthetic expression limits the imagination. Casey criticizes Dufrenne for his attempt to unite imagination with aesthetic expression. He argues for the autonomy of the imagination but leaves the question of the relationship between the imagination and perception unanswered. Dufrenne partially shares his theory of imagination with Sesemann. Both philosophers claim that imagination is a reproductive activity rather than a productive one in the sense that it is limited by the forms of the material a priori. In other words, aesthetic expression has to obey the principle of correlation between percipiens and perceptum. Creativity becomes possible when the creator is able to reproduce in his expression another subject’s possible perceptivity. Max Scheler emphasized the correlative connection of spiritual activity with the world. He linked the concept of imagination to the practical being in the world. In Sesemann’s aesthetics the role of embodied imagination in artistic creation and the perception of aesthetic objects were also considered. Both authors argued that the connection between imagination and the essential modes of the world’s givenness is guaranteed by the mode of embodied imagination. Both acknowledged that imagination is related to unconscious desires and drive. Both authors stated that the schematisms of imagination express the style of the perception of the world. The fact that imagination is an embodied phenomenon is illustrated by the way it exists in the world, since imagination is essentially a free activity restricted only by “the style of the world’s horizon.”

Moving Sound

2019 ◽  
pp. 734-748
Author(s):  
Ana Sánchez-Colberg ◽  
Dimitris Karalis
Keyword(s):  
The Body ◽  
Contemporary Dance ◽  
Available Technology ◽  
The Relationship

The essay revisits the relationship between music and dance, sound and movement, in contemporary dance and music in improvisation. The main philosophical thrust for the discussion draws from the work of Peters, specifically his 2009 book The Philosophy of Improvisation. Peters argues that true improvisation requires a ‘powerful memory, memory of the parameters of an instrument, of the body, of available technology, the parameters of a work’s structure, and one’s place within it at any time, the parameters of an idiom, a genre and its history, its possibilities’. This idea, of the need to set parameters, understand rules, structures, as well as one’s positions within an improvisational process, is central to the discussion. The project Moving Sound, a collaboration between music director Dimitris Karalis and composer-saxophonist Yannis Kassetas, is discussed as a case study.

scholarly journals Screen-time, obesity, ageing and disability: findings from 91 266 participants in the 45 and Up Study

2010 ◽  
Vol 14 (1) ◽  
pp. 34-43 ◽  
Author(s):  
Emily Banks ◽  
Louisa Jorm ◽  
Kris Rogers ◽  
Mark Clements ◽  
Adrian Bauman
Keyword(s):  
Physical Activity ◽  
Screen Time ◽  
Vegetable Consumption ◽  
New South ◽  
New South Wales ◽  
Full Time ◽  
Obesity Prevalence ◽  
Cross Sectional ◽  
South Wales ◽  
The Relationship

AbstractObjectiveTo assess the relationship between obesity and sedentary behaviours, such as watching television or using a computer (‘screen-time’), and describe how this relationship varies between population subgroups.DesignCross-sectional analysis of the relationship between obesity (BMI ≥ 30 kg/m2) and screen-time, adjusted for age, sex, income and education and compared according to a range of personal characteristics.SettingNew South Wales, Australia.SubjectsA total of 91 266 men and women aged 45 years and above from the general population of New South Wales in 2006–2007 and providing self-reported information on height and weight and other factors.ResultsObesity prevalence was 21·4 %. Compared to individuals with <2 h of daily screen-time, the adjusted relative risks (RR) of obesity were 1·35 (95 % CI 1·26, 1·44), 1·70 (95 % CI 1·59, 1·82), 1·94 (95 % CI 1·81, 2·08) and 1·92 (95 % CI 1·80, 2·06) for 2–3, 4–5, 6–7 and ≥8 h, respectively. The increase in obesity with increasing screen-time was similar within categories of overall physical activity, but was attenuated in those in full-time paid work, compared to non-workers (P for interaction < 0·0001). Among non-workers, the overall obesity RR per 2 h increase in daily screen-time was 1·23 (95 % CI 1·21, 1·25) and was significantly elevated in all groups examined, ranging from 1·16 to 1·31 according to sex, level of age, education, income, smoking and fruit consumption. The RR did not differ significantly according to overall physical activity, region of residence and alcohol and vegetable consumption, but was substantially lower in disabled v. not-disabled individuals (P for interaction < 0·0001).ConclusionsObesity increases with increasing screen-time, independent of purposeful physical activity. This was observed in all population groups examined, although it is attenuated in full-time workers and disabled individuals.

Screen Time and Physical Activity in Youth: Thief of Time or Lifestyle Choice?

2012 ◽  
Vol 9 (7) ◽  
pp. 977-984 ◽  
Author(s):  
Gavin R.H. Sandercock ◽  
Ayodele Ogunleye ◽  
Christine Voss
Keyword(s):  
Physical Activity ◽  
Physical Education ◽  
Screen Time ◽  
School Lunch ◽  
Negative Association ◽  
After School ◽  
Cross Sectional ◽  
Lifestyle Choice ◽  
The Relationship ◽  
Activity Questionnaire

Background:This study aimed to examine the relationship between screen time and physical activity (PA) in children and adolescents but also to determine specific elements of PA that were most closely associated with screen time.Methods:We studied a cross-sectional sample of 6176 10.0–15.9 year olds (53% boys, 12.9 ± 1.5 years) who completed the Physical Activity Questionnaire for Children/Adolescents and reported daily screen time. Differences in total PA and specific elements of PA were examined between groups reporting: < 2 h, 2–4 h, and > 4 h daily screen time.Results:There were significant differences between screen time groups in: total PA, number of bouts of PA reported, after school PA, evening PA and weekend PA (P < .0001). There was a graded, negative association between higher screen time and lower free-time PA. Participants reporting < 2 h screen time were also significantly more active during school lunch breaks than those reporting > 2 h. Boys reporting > 4 h screen time were less active during physical education lessons.Conclusions:Screen time is significantly and negatively associated with PA in British youth. Screen time may displace active pursuits out of school but is also associated with lower PA during school. Daily screen time should be limited to < 2 h in line with current recommendations.

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