Proposal for a Dance Performance

2021 ◽  
Author(s):  
Ioannis Panagiotou
Keyword(s):  
Music Notation ◽  
Use Of Self ◽  
Artistic Practice ◽  
Dance Performance ◽  
Visual Tool ◽  
Program Notes ◽  
Music Ensemble ◽  
Dance Notation

Proposal for a Dance Performance is an artwork for music ensemble and PowerPoint. This work aims to transform -through the use of self-referential narration- dance notation, emails, program notes and technical rides, into performing instances. The paper puts the above artwork in a dialogue with works by Hanns Eisler, Alfred Johannes and Johannes Kreidler, which use music notation as a conceptual visual tool. Furthermore, this paper discusses the role of music as a character in a play, a technique found in Samuel Becket’s work. This combination of narration and notation is being proposed as a transdisciplinary methodology for breaking fixed notions of artistic practice. 

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

scholarly journals Co-evolving with self-tracking technologies

2018 ◽  
Vol 20 (10) ◽  
pp. 3624-3640 ◽  
Author(s):  
Dorthe Brogård Kristensen ◽  
Minna Ruckenstein
Keyword(s):  
Political Economy ◽  
Digital Technology ◽  
The Self ◽  
Quantified Self ◽  
Use Of Self ◽  
Technology Market

Seen in a longitudinal perspective, Quantified Self-inspired self-tracking sets up “a laboratory of the self,” where people co-evolve with technologies. By exploring ways in which self-tracking technologies energize everyday aims or are experienced as limiting, we demonstrate how some aspects of the self are amplified while others become reduced and restricted. We suggest that further developing the concept of the laboratory of the self renews the conversation about the role of metrics and technologies by facilitating comparison between different realms of the digital, and demonstrating how services and devices enlarge aspects of the self at the expense of others. The use of self-tracking technologies is inscribed in, but also runs counter to, the larger political-economy landscape. Personal laboratories can aid the exploration of how the techno-mediated selves fit into larger structures of the digital technology market and the role that metrics play in defining them.

An Evaluation of a Self-Initiated Practice Exercise for Investigative Interviewers of Children

2009 ◽  
Vol 11 (3) ◽  
pp. 366-376 ◽  
Author(s):  
Rebecca Wright ◽  
Belinda L. Guadagno ◽  
Martine B. Powell
Keyword(s):  
Best Practice ◽  
Monitoring And Evaluation ◽  
Investigative Interviewing ◽  
Use Of Self ◽  
Careful Monitoring ◽  
Complex Skills ◽  
Practice Opportunities ◽  
Ongoing Development ◽  
Qualitative Analyses

The current study extends debate and research on the important role of practice in promoting and sustaining complex skills in investigative interviewing. Specifically, we explored the use of self-initiated practice as one avenue for facilitating ongoing development of professionals who interview children about abuse. A group of 40 investigative interviewers were required to organise and administer their own practice opportunities and to document these sessions in a diary. The professionals were aware of the important role of practice and what constitutes best-practice interview guidelines; however no instruction was given about the desired format, structure and timing of the practice sessions. A combination of quantitative and qualitative analyses revealed poor adherence to self-initiated practice, and the practice (among those who adhered to this model) had negligible impact on performance. Overall, these findings highlight the need for careful monitoring and evaluation of all interviewer practice tasks.

scholarly journals The Role of Self-Management Practices as Mechanisms for Re-Establishing Normality in Cancer Survivors

2016 ◽  
Vol 27 (4) ◽  
pp. 520-533 ◽  
Author(s):  
Catherine Henshall ◽  
Sheila Greenfield ◽  
Nicola Gale
Keyword(s):  
Cancer Survivors ◽  
Management Practices ◽  
Well Being ◽  
Self Management ◽  
Use Of Self ◽  
Lifestyle Activities ◽  
The Relationship ◽  
Static Concept

This article explores the relationship between cancer survivors’ use of self-management practices and their search for normality. Using Frank’s illness narratives and other theoretical literature on normality in chronic illness, it draws on findings from a qualitative study to explore different ways cancer survivors use self-management practices to re-establish normality in their lives post-cancer. The findings suggest that “normality” represents different things to cancer survivors. We suggest that normality in survivorship is not a static concept but is fluid, and at certain times, cancer survivors may display some or all of these different versions of normality. The findings show that self-management practices can help cancer survivors experiment with different health and lifestyle processes to help support their “normal” daily lifestyle activities, quality of life, and well-being.

scholarly journals Europejskie portfolio językowe jako instrument samooceny prac pisemnych na poziomie zaawansowanym w nauce języka obcego

Neofilolog ◽  
1970 ◽  
pp. 217-226
Author(s):  
Katarzyna Krzemińska
Keyword(s):  
Foreign Languages ◽  
German Language ◽  
Use Of Self ◽  
Council Of Europe ◽  
Self Evaluation ◽  
Language And Literature ◽  
Education College ◽  
Second Year ◽  
State Higher Education

The purpose of this article is to explore the role of the ELP in teaching language skills to students of foreign languages, in my professional situation – to German Language and Literature students. The article attempts to answer the following questions: To what extent do the ELP and the Council of Europe documents help students of foreign languages use self-evaluation? How do these documents support learner autonomy? Due to the growing interest in the ELP, I focused my attention on the use of self-evaluation skills by college students during their writing tasks. The article presents the results of a study on self-evaluation. It was carried out among first and second year students of German Language and Literature Studies at the State Higher Education College in Włocławek in the academic years 2005/2006 and 2006/2007.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

scholarly journals Motivación en educación artística. Tiempo y variables

2020 ◽  
pp. 56-61
Author(s):  
Inés López Manrique
Keyword(s):  
Arts Education ◽  
Educational Context ◽  
Artistic Practice ◽  
Comfort Zone ◽  
Education Students ◽  
Fundamental Factor ◽  
Artist Studios ◽  
Student Today ◽  
Work Done

Motivation is a fundamental factor for all kinds of activities, highlighting in it the role of emotions. Motivation is present, both in artistic practice and in the educational context, classifying as extrinsic or intrinsic. Reviewing fundamental authors on motivation directed to arts education students, variables such as time, resources, passion and the environment were found. Other strategies consist of evaluating: the importance of emotions, spaces, experimentation, recognition of the work done, reinforcement of the feeling of value and creative abilities, ideas, the introduction of new tools, unexpected objects and unexpected people. The importance of teamwork, getting out of the comfort zone, visiting artist studios or inviting artists to participate in classes is also defended. Attention is paid to the rhythms of each student, some faster, others calmer, giving them the necessary time according to the rhythm of each student. Today the increase in digitization also affects motivation in Art Education

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

Time and Ensemble Dynamics in Indeterminacy: John Cage’s Concert for Piano and Orchestra

2021 ◽  
pp. 504-526
Author(s):  
Emily Payne
Keyword(s):  
Observational Studies ◽  
Experimental Music ◽  
Apartment House ◽  
Time Consciousness ◽  
Musical Interactions ◽  
Music Ensemble ◽  
Temporal Interactions

This chapter examines ensemble dynamics and time consciousness in indeterminate music, using John Cage’s Concert for Piano and Orchestra (1957–8) as a case study. Drawing on interviews and observational studies undertaken with the experimental music ensemble Apartment House, I examine the role of temporal indeterminacy in the socio-musical interactions that characterize performance, and its implications for the musicians’ experiences. In doing so, the chapter makes a broader contribution in its consideration of the ways in which issues of authorship and authority are negotiated in such temporal interactions, and how the dynamics of these negotiations present a sociality based on a ‘separate togetherness’, whereby performers play together (out of time) with one another.

STUDI DESKRIPTIF ANSAMBEL MUSIK KOLINTANG SEBAGAI PENGIRING NYANYIAN PADA UPACARA BENDERA DI SMP SW. ST. PAULUS SIDIKALANG

2020 ◽  
Vol 18 (2) ◽  
pp. 71-75
Author(s):  
Aprilia Dame Christanty Sihombing
Keyword(s):  
Extracurricular Activities ◽  
Junior High School ◽  
Descriptive Analysis ◽  
Analysis Techniques ◽  
Descriptive Research ◽  
Music Ensemble ◽  
Qualitative Descriptive ◽  
Data Validity ◽  
The Subject

This endeed of  research is to describe the place of the kolintang music ensemble to accompany the singin of the flag ceremony at SMP Sw. St. Paulus Sidikalang. This research is a qualitative descriptive research. The subject of this research is flag ceremony. The research focussed on the role of Kolintang music ensemble as song chanting. The data of the final research was obtained from the observations of the flag-raising activities, interview with teachers, student adan kolintang’s players in junior high school and take a documentation. Data were analyzed with qualitative descriptive analysis techniques. Data validity is obtained through data triangulation, observer triangulation, theory triangulation and method triangulation. The purpose of this research is to know and descriebing  kolintang music. Example, in this research is by using numbered data such as document, archieves, interview results, observation result or also by interviewing more thn one subject that is consideret to have a different point of view.The result showed that : (1) In accompaniying singing at the flag-ceremony, students used the basic notes G, C and F. (2) the tecnic to performed kolintang    were not wheeled with a kolintang played general. (3). After carrying out their duties as chanting accompaniment in the ceremony, students who performed kolintang first practice on kolintang extracurricular activities. (4) in the process of playing kolintang, each player must have a strong feeling so that the technic kolintang is harmonious. Keywords : Descriptive Study, Ensemble, Kolintang music

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