scholarly journals Haptic Thinking and Experience through Collective Artistic Research

POIÉSIS ◽  
2019 ◽  
Vol 20 (34) ◽  
pp. 159
Author(s):  
Dasha Lavrennikova
Keyword(s):  
Visual Culture ◽  
Dance Performance ◽  
Creative Processes ◽  
Artistic Process ◽  
Physical Theater ◽  
Social Technologies ◽  
Theoretical Reflection ◽  
Artistic Research

This article offers a theoretical reflection and practical proposals from the HeterotRópico artistic laboratory, a nomadic laboratory - where we are investigating dance, performance, physical theater, in conjunction with other diverse social technologies. They bring tools to activate collective practices developed within open creative processes. We will focus on the seminar lab I have proposed at the Masters in Arts Practice and Visual Culture 2018-2019 in Madrid, bringing together an intercultural group of artists and thinkers of around practices of trans-disciplinary arts. Artistic laboratories, in the diverse formats that they are defined today, aim to activate a field of subjectivities and corporeality, explored and co-produced in their uniqueness during the artistic process.

scholarly journals A Piece of Music as a Result of the Artistic Research

2020 ◽  
Vol 3 (1) ◽  
pp. 1-7
Author(s):  
Eka Chabashvili
Keyword(s):  
Comparative Research ◽  
Creative Processes ◽  
Distinctive Features ◽  
Artistic Process ◽  
Sequence Of Events ◽  
Musical Idea ◽  
Different Types ◽  
Creative Experience ◽  
The Subject ◽  
Artistic Research

In the late 20th and 21st centuries, implementation of artistic research into the educational system has become increasingly intensive, both in the field of art as well as in the fields where arts collaborate with sciences. The subject of the paper is artistic research in the musical arts; how valuable is a piece of music created as a result of research from an artistic and scientific standpoint? The purpose of our study is to identify common and distinctive features of two different types of creative processes. To determine this, we use empirical and comparative research methods. To solve a scientific problem, we set a task - to compare the process of creating a piece with the process of artistic research, which results into a musical work. As artists describe their own creative process best of all, the paper is based on creative experience of Eka Chabashvili – the author of the current paper - as a composer. Two of her works are selected to describe the course and sequence of events that occurred in consciousness during their creation. The artistic process is divided into three main stages: 1) Source of inspiration and formation of the idea; 2) Transformation of the idea into musical notion and projection; 3) Materialization of the musical idea – its realization. Both compositions represent the combination of different components of artistic and technical ideas. Intuitive and rational tasks interchange with each other. The paper aims to determine the intuitive and rational ways of constructing musical concept.

scholarly journals Re-Constructing the Choreographic Studio of João Fiadeiro Through Animated Infographic Films

1969 ◽  
Vol 1 (1) ◽  
Author(s):  
Stephan Jürgens
Keyword(s):  
Academic Research ◽  
Contemporary Dance ◽  
Interesting Point ◽  
Creative Processes ◽  
Artistic Process ◽  
Conceptual Structures ◽  
Novel Approach ◽  
Starting Point ◽  
Interdisciplinary Arts

The starting point for this article is an artist-led practice developed by choreographer João Fiadeiro during the past two decades, which has been designated as "Composition in Real Time" (CTR). The interesting point about this methodology is that it has been applied in performance composition and in arts education by its author himself; but also in such diverse fields as anthropology, sociology, neurosciences, and economy by scientists and academics in collaboration with Fiadeiro. The authors of this article have conducted a long-lasting case study on the artistic process of Fiadeiro in the framework of an ERC-funded interdisciplinary arts and cognition project. We present our resulting novel approach to researching contemporary dance work through the creation and production of animated infographic films. Along with leading PaR theorists we argue that the utilization of adequate artistic techniques and methods in academic research can successfully reveal how unique creative ideas and conceptual structures come into being in the creative processes of today's contemporary artists. The article discusses specific excerpts of the provided animated infographic films to show how we digitally re-constructed Fiadeiro’s conceptual and imaginative universe, and how our findings can address both an academic and interested lay audience. SOLOS study: I am sitting in a different room you are in now from BlackBox Art&Cognition on Vimeo. SOLOS study: I was here from BlackBox Art&Cognition on Vimeo. Graphic models developed by João Fiadeiro from BlackBox Art&Cognition on Vimeo.

scholarly journals Poéticas em arte sonora: entrevista com Paulo Nenflidio

2021 ◽  
Vol 9 (2) ◽  
pp. 1-27
Author(s):  
Roseane Yampolschi ◽  
Clayton Mamedes ◽  
Paulo Nenflidio
Keyword(s):  
Science And Technology ◽  
Fine Arts ◽  
Sao Paulo ◽  
Artistic Expression ◽  
Technical School ◽  
Creative Processes ◽  
Poetic Expression ◽  
The University ◽  
Artistic Research

Paulo Nenflidio, in his biographic note, presents himself as an artist who works at the intersection between art, science and technology. A multiple and inventive artist, his works comprise sculptures, installations, objects, instruments and drawings in which sound, electronics, movement, construction, invention, randomness, physics, control, automatons, and workaround come together as elements of artistic expression. Paulo Nenflidio holds a degree in Fine Arts from the School of Communication and Arts of the University of São Paulo and is an electronics technician graduated from the Lauro Gomes Technical School in São Bernardo do Campo. Born in São Bernardo do Campo, the artist maintains his studio in this city. In this interview, we seek to deepen our study about the poetics of Paulo Nenflidio's works. How his creative trajectory developed, conceptual inspirations that guided the development of his creative processes and his artistic research, as well as the role of sound and silence as forms of poetic expression are issues addressed in this conversation. This interview was conducted by email, between the 20th and 24th of July 2021.

scholarly journals Prague is Not Czech: Artistic Project as a Public Service

2021 ◽  
Vol 9 (2021-1) ◽  
pp. 182-200
Author(s):  
Amálie Bulandrová ◽  
Anna Chrtková ◽  
Andrea Dudková
Keyword(s):  
Public Service ◽  
Travel Agency ◽  
Collaborative Approach ◽  
Artistic Practice ◽  
Theoretical Reflection ◽  
Artistic Research

The presented text focuses on the particular artistic practice employed during the realisation of the project Prague is not Czech, which was established as a collective exhibition within the Prague Quadrennial of Performance Design and Space 2019 (henceforth PQ). The authors of this project, who are gathered within the team Intelektrurálně, decided to carry on with the Prague is not Czech travel agency and to transform it into a systematic socio- artistic research, which uses selected strategies of non-Prague reality as a ready-made and fills them with its own content. Since its very beginning, the project has been based on a concept of radical cooperation. Therefore, a collaborative approach towards creation represents the primary subject that is being reflected within this text (and which is itself a product of the cooperation of several people). Thus, the gist of the presented paper is to introduce initial artistic approaches and fundamental strategies of the project. The following text, therefore, consists of a manifesto written by the initiators of the project and broader theoretical reflection. In the first section, entitled What we do, the authors describe the various forms of the presented project, conditions of its creation and its development. The text is then divided into four parts – according to the project’s essential aspects: Czechness, Participation, Scenography and Experience.

scholarly journals Model of the essential attributes of visual culture as the criteria for studying artifacts and design of new visual images

2021 ◽  
pp. 51-63
Author(s):  
Natalia Dmitrievna Kalina
Keyword(s):  
Visual Culture ◽  
Digital Technologies ◽  
Visual Images ◽  
Constructivist Approach ◽  
Constructive Methods ◽  
Actual Reality ◽  
The Subject ◽  
Visual Artifacts ◽  
Theoretical Reflection ◽  
Cultural Entities

The object of this research is visual culture in the context of studying artifacts and design of new visual images. The subject of this research is the theoretical reflection on the essential attributed as the general characteristics of visual culture. The author compares the depiction of the artifacts of visual culture artifacts in postmodernism and constructivism. Postmodernism does not aim to build holistic images and reveal the content through visual form. Constructivism, in turn, structures holistic and aesthetically expressive forms of artifacts in unity with the content. The knowledge and meanings in visual artifacts are constructed via graphic spatial and artistic features. Special attention is given to the constructivist approach as a theoretical-methodological substantiation for studying the essential attributes of visual artifacts. Such approach allows the cultural entities to build semantic models by means of the general cultural geometric language in the dialectical synthesis of various forms, content, and conventional meanings. The artistic interpretations contribute to creation of the unique content. The constructivist approach includes the following methods: deconstructivism of conducting detailed analysis of the artifacts; constructivism of building new aesthetically expressive images. The result of this research lies in systematization of the essential attributes of visual culture for all forms and content. The novelty of consists in correspondence of the constructivist approach to the object and subject of the research, as well as in examination of the actual reality of the modern visual culture of digital technologies and new constructive methods of visualizing form and content in the images.

scholarly journals Manifestations of social resistance in craft processes

2021 ◽  
Vol 14 (2) ◽  
Author(s):  
Stefanía Castelblanco Pérez
Keyword(s):  
Indigenous Peoples ◽  
Political Resistance ◽  
Creative Processes ◽  
Social Resistance ◽  
Ecological Resistance ◽  
Basic Concepts ◽  
Cultural Ecological ◽  
Theoretical Reflection

This paper aims to analyze craft objects that could contain inherent meanings of social, cultural, ecological or political resistance. The creative processes of makers from the Iku and Nasa indigenous peoples of Colombia and the Sami people of Sweden have been studied. The paper encompasses a theoretical reflection on the communicative capacity of objects and their implicit meanings as well as of the basic concepts of resistance and craft paired with a brief description of the Iku, Nasa and Sami indigenous peoples. An analysis of the manifestations that could be considered as resistance in the studied artisanal processes is brought forward through 11 interviews with artisans and the paper proposes a final reflection on how craft objects can have the capacity to communicate social, cultural, political and ecological resistance.

Stardom Ke Peeche Kya Hai (What Is behind the Stardom)?

Dancing Women ◽  
2020 ◽  
pp. 179-198
Author(s):  
Usha Iyer
Keyword(s):  
The Body ◽  
Reality Tv ◽  
New Techniques ◽  
Dance Performance ◽  
Creative Processes ◽  
Industrial Systems ◽  
Labor Networks ◽  
Hindi Film

With her vigorously libidinous dancing, her infamous “jhatkas and matkas,” Madhuri Dixit, the leading Hindi actress of the late 1980s and the 1990s, initiated a whole new movement vocabulary for the Hindi film heroine. Dixit’s moves carried the unmistakable imprint of the choreographer who led her to stardom, Saroj Khan. With her six-decade-long career, Khan constitutes a remarkable, embodied archive of Bombay cinema’s industrial practices in relation to dance performance and choreography. Chapter 5 delves into Khan and Dixit’s co-choreography of a new style of movement, reading choreography as an archival-corporeal system of transmission and transformation that articulates body cultures, industrial systems, and labor networks. A focus on training, rehearsal, and collaboration foregrounds the creative processes in their co-choreography that produced new techniques of the body, which both women continue to build on through richly intermedial careers in film, reality TV dance shows, and on web platforms.

Forming Cityscapes

2020 ◽  
Author(s):  
Gideon Kong ◽  
Jamie Yeo
Keyword(s):  
Urban Studies ◽  
Critical Discussion ◽  
Top Down ◽  
City Life ◽  
Creative Practice ◽  
Photographic Documentation ◽  
Actual Use ◽  
The City ◽  
Theoretical Reflection ◽  
Artistic Research

This chapter presents a photographic documentation project with a particular interest in everyday city life in Singapore. As a theoretical reflection on the project, we examine the interrelationships between the project and related ideas across urban studies, photography and design, while positioning it as a form of ‘artistic research’. Selected photographic findings from Forming Cityscapes are presented alongside a critical discussion on creative forms of appropriation that indirectly critique ‘top-down’ design implementations and suggest other micro-possibilities through actual use. With this, an imaginative representation of Singapore’s cityscape is represented through (1) our creative practice, and (2) photographic findings of creative practices found in the city.

moonsong (I have dwelt upon the moon)

APRIA Journal ◽  
2021 ◽  
Vol 3 (2) ◽  
pp. 92-108
Author(s):  
Sharon Stewart
Keyword(s):  
Theoretical Investigation ◽  
Process Equipment ◽  
Memory Process ◽  
The Moon ◽  
Online Journal ◽  
Donna Haraway ◽  
Artistic Process ◽  
Initial Process ◽  
Theoretical Reflection

The initial aim of this project was to take a time-based, repetitive sonic practice, timed with the movements of the moon, and investigate this practice in relation to memory, process and meaning. The attendant goal was to see if I could, through contemplating on and adapting this practice, relay – through the sound of a sonic work – part of the notion of the 'thick present' as conveyed through the writings of Donna Haraway in Staying with the Trouble: Making Kin in in the Chthulucene (2016). Could I create a sonic work within the conventions of an online journal platform that conveys both the passage of time enfolded into its creation, punctuated by the process of following the moon, as well as one that – through its own sounding – says something about my journey toward a more sympoietic making process? What follows constitutes a thinking between practice and theoretical writings that develops through an iterative practice: initial process (born of a time-related artistic process curiosity) returns to theoretical investigation, returns to process, which in turn returns to theoretical reflection and assessment. This text has been co-composed with the sonic work moonsong and is meant to be read alongside – co-listened to with – the sonic work. Excerpts taken from emails, sent to friends and artists almost daily during the initial 30-day process of recording and journaling, called moonsong writings, are included throughout this article, with links. The 'Appendix: Artistic process of moon-song' contains a more technical and detailed overview of the process, equipment, and recording acts involved.

scholarly journals Mudanças na imagem corporal de bailarinas que vivenciaram o método BPI [Graziela E. F. Rodrigues, M. da Consolação G. C. F. Tavares]

REPERTÓRIO ◽  
2010 ◽  
pp. 145
Author(s):  
Teatro & Dança Repertório
Keyword(s):  
Body Image ◽  
Emotional Content ◽  
Construction Process ◽  
Dance Performance ◽  
Creative Processes

<p>Bailarino-Pesquisador-Intérprete (BPI) é um método coreográfico desenvolvido no Brasil na década de 1980 que prioriza a identidade do bailarino em todo o processo de construção do espetáculo de dança. O objetivo desta pesquisa foi identificar elementos relacionados ao desenvolvimento da imagem corporal a partir da análise dos depoimentos a um conjunto de questões aplicadas a um grupo de pessoas que utilizaram o método BPI no processo de criação. É possível verificar que os três eixos de sustentação do método - Inventário no Corpo, Co-habitar com a Fonte e Incorporação da Personagem - foram identificados por cada pessoa. Existe forte conteúdo emocional vivenciado pela pessoa durante o desenvolvimento do método BPI e isto possibilitou que partes da identidade pessoal, que antes não eram reconhecidas como suas, fossem assumidas e integradas por ela.</p><p>The Dancer-Researcher-Performer (DRP) is a choreographic method developed in Brazil during the nineteeneighties, which highlights the dancer's identity during the entire dance performance construction process. The aim of this research was to identify elements related to the development of body image using testimonies to a questionnaires by subjects who have applied the DRP method in creative processes. It is possible to verify that the three axes of method - Body inventory, Co-dwelling with the Source and Character embodiment - were identified by each subject. There is strong emotional content experienced by subject during the development of DRP method and this enabled the dancer's assimilation and integration of parts of his/her identity not hitherto recognized as belonging to himself/herself.</p>

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