scholarly journals From Science to Dance Ensaio Between Lab and Studio

2019 ◽  
Vol 22 (1) ◽  
pp. 205-243
Author(s):  
Ângelo Cid Neto
Keyword(s):  
Creative Process ◽  
Scientific Research ◽  
The Body ◽  
Artistic Process ◽  
Science And Art ◽  
Neuroscience Research ◽  
Reflection In Action ◽  
The Common ◽  
Key Features ◽  
Definition Of

Abstract This text is a reflection in action of an artistic process based on a scientific research. ENSAIO is the choreographic project that resulted from the translation mechanisms of laboratory concepts to a bodily approach, where it proposes a possible mainstreaming of artistic and scientific processes combined. This project joined artistic higher education schools in dance and scenic arts (ESD and FCSH) and Polavieja lab, a neuroscience research lab in Champalimaud Foundation – Center for the Unknown. This text aims to reveal the creative choreographic and performative potentials hidden in this scientific research concerning neurosciences. Identifying cross materials to artistic and scientific processes, it was possible to design a structure of the creation process and the construction of a choreographic performance. The common platform has been found in the process of translation and the definition of the same concept substrate, which made possible the approach of the two instances: studio and laboratory. One of its key features is the promotion of the communication among its agents: scientists and dancers. And the possibility of modelling and absorption from what it comes from this sharing and collaboration. The methods and the choreographic procedures mirrored and promoted this sharing and, therefore, the involvement of the body. Where, the body is the agent able to reflect and trigger this process, a body as an essay that is constantly in research. A body able to coordinate between various media and to expand the reflection on itself. Although science and art are individual instances that inevitably specialise and segregated away. Therefore, this text focuses on examples of cross-thinking of both scientific and artistic cultures, and the articulation of the theoretical and practical bodies in a practice-as-research on the development of the ENSAIO creative process.

The Changing Law and Law Reform in Ghana

1971 ◽  
Vol 15 (2) ◽  
pp. 132-181 ◽  
Author(s):  
N. A. Ollennu
Keyword(s):  
Civil Rights ◽  
Social Life ◽  
The Body ◽  
Customary Law ◽  
Law Reform ◽  
Social Conduct ◽  
The Common ◽  
The Concept Of Law ◽  
Definition Of ◽  
Social Imperative

Many books and learned articles have been written on African Law within the last two or three decades. Almost every one of them has attempted a definition of law, custom and customary law, as a basis for its particular object. Among these definitions is Elias's adaptation of Goodhart's definition of law; this definition appeals to us as it serves many purposes. That adaptive definition is: “ ‘The law of a given community is the body of rules which are recognised as obligatory…’ This recognition must be in accordance with the principles of their social imperative, because operating in every community is a dynamic of social conduct, an accepted norm of behaviour which the vast majority of its members regard as absolutely necessary for the common weal. This determinant of the ethos of the community is its social imperative.” We would not of course include within the concept of law forms of social conduct which are concerned with the less important aspects of social life, which though well-established, yet pertain only to the sphere of social formalities and when violated, merely excite the displeasure or contempt of society; we are concerned with those norms the violation of which calls for the employment of “sanctions directly affecting the liberty, property, or status of the offender (such as imprisonment, fines or loss of civil rights)”. But we would include also those “concerned with serious business of society, the work that must be accomplished in order to secure and guarantee satisfactory conditions for collective life,” which Edgar Bodenheimer classifies as “customary law”.

Galen

2017 ◽  
Author(s):  
Daniel King
Keyword(s):  
The Body ◽  
Common Language ◽  
Diagnosis And Therapy ◽  
Complex Approach ◽  
The Common ◽  
Definition Of ◽  
Pain Symptoms ◽  
Specific Definition

Galen develops a robustly aetiological approach to diagnosis and therapy which centres on the differentiation of pain perceptions throughout the body. He develops a specific definition of pain as the perception of overwhelming and contrary-to-nature change which links the perception of pain with his understanding of disease. Throughout On Affected Parts, he argues for pain terminology and descriptions that facilitate the communication of experiences and perceptions between doctor and patient. Galen promotes, in this context, a type of ‘common language’ in which familiar terminology communicates effectively the common experiences of doctor and patient: modern categories of subjective and objective language are not effective tools to help understand this complex approach to pain description. Galen’s control of language in this context is mirrored by his attempts to control his patients’ narration of pain symptoms, which moulds their experiences to fit Galen’s understanding of pain, disease, and the body.

Becoming Organ-ized: The Creativity of Organization, Dis-Organization and Re-Organization in Scientific and Artistic Experiments

Leonardo ◽  
2012 ◽  
Vol 45 (3) ◽  
pp. 262-268 ◽  
Author(s):  
Timothy S. Barker
Keyword(s):  
Creative Process ◽  
Recent Experiment ◽  
Scientific Research ◽  
The Body ◽  
E Coli ◽  
Experimental Art ◽  
Starting Point ◽  
Body Without Organs

Taking its starting point from a recent experiment in the genetics of E. coli, this article explores how processes of organization, dis-organization and re-organization may be thought of as creative. Extending Deleuze and Guattari's concept of the Body without Organs and citing artworks such as George Legrady's Slippery Traces, Paul DeMarinis's Messenger, Jon McCormack's Eden and Natalie Jeremijenko's One Trees, the paper juxtaposes recent scientific research with experimental art in order to reformulate the concept of organization for use in artistic and interactive settings, theorizing it as a creative process rather than positioning it as a limiting, institutionalizing or negative force.

An Interview with Richard Powers

2019 ◽  
pp. 407-418
Author(s):  
Suzanne Nalbantian
Keyword(s):  
Creative Process ◽  
First Century ◽  
The Novel ◽  
Flow State ◽  
Human Consciousness ◽  
Richard Powers ◽  
Fiction Writing ◽  
Artistic Process ◽  
Science And Art ◽  
Initial Idea

Richard Powers gives an exclusive interview about his creative process in novel-writing, drawn from the experience of writing twelve novels to date. Powers brings neuroscience and technology into his fiction writing for the twenty-first century. This is especially seen in his novel The Echo Maker, which shows how fiction can represent different aspects of human consciousness. Power’s artistic process is capsulated in a metaphor of “lock and key.” The “triggering stimulus” is the key to the endless possibility of insight. That trigger is less important than the techniques to keep the creative process unfolding—in the case of the novel, chapter by chapter, sentence by sentence, word to word. Along with the initial idea of inspiration, there is the repeated course of corrections along the way, which are “micro” inspirations. A flow state is needed that retains looseness in the progress of creativity. Thoughts and emotions are woven together, as Antonio Damasio has explained, in creativity, and this applies, says Powers, to creative writing. Memory is used in a creative way, reactivated, as shown in novels like Three Farmers, Plowing the Dark, and Galatea 2.2. This interview shows how the overlap between science and art can be demonstrated in the creative process.

scholarly journals The Sh(e)aring Economy. Debates on the Law on Takings

Laws ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 54
Author(s):  
Nofar Sheffi
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
United States Of America ◽  
Common Law ◽  
The United States ◽  
The Body ◽  
The Common ◽  
The Law ◽  
Definition Of ◽  
The Relationship

Rethinking ‘sharing’ and the relationship between ‘sharing’ and ‘jurisdiction’, this meander proceeds in three parts. It begins with a journey to and through the forests of the nineteenth-century Rhineland, rereading Marx’s journalistic reports on debates in the Sixth Rhine Province Assembly about proposed amendments to forest regulation (including an extension of the definition of ‘wood theft’ to include the gathering of fallen wood) as a reflection on the making of law by legal bodies. From the forests of the Rhineland, the paper journeys to the forests of England, retracing the common story about the development, by legal bodies, of the body of common law principles applicable to ‘innkeeping’. Traveling to and through the ‘concrete jungles’ of the United States of America, the paper concludes with a reflection on Airbnb’s common story of creation as well as debates about the legality of Airbnb, Airbnb-ing, and ‘sharing’.

Derrida on Pornography: Putting (It) Up for Sale

Derrida Today ◽  
2013 ◽  
Vol 6 (1) ◽  
pp. 97-114 ◽  
Author(s):  
Christopher Morris
Keyword(s):  
Cultural Studies ◽  
English Translation ◽  
The Body ◽  
The Past ◽  
French Original ◽  
Definition Of ◽  
Critical Discourses ◽  
Academic Debate

Over the past thirty years, academic debate over pornography in the discourses of feminism and cultural studies has foundered on questions of the performative and of the word's definition. In the polylogue of Droit de regards, pornography is defined as la mise en vente that is taking place in the act of exegesis in progress. (Wills's idiomatic English translation includes an ‘it’ that is absent in the French original). The definition in Droit de regards alludes to the word's etymology (writing by or about prostitutes) but leaves the referent of the ‘sale’ suspended. Pornography as la mise en vente boldly restates the necessary iterability of the sign and anticipates two of Derrida's late arguments: that there is no ‘the’ body and that performatives may be powerless. Deriving a definition of pornography from a truncated etymology exemplifies the prosthesis of origin and challenges other critical discourses to explain how pornography can be understood as anything more than ‘putting (it) up for sale’.

The Common as Body Without Organs

2010 ◽  
Vol 4 (supplement) ◽  
pp. 46-63
Author(s):  
Vidar Thorsteinsson
Keyword(s):  
The Body ◽  
Fundamental Importance ◽  
Recent Book ◽  
Social Production ◽  
Deleuze And Guattari ◽  
Political Thinking ◽  
Conceptual Apparatus ◽  
Body Without Organs ◽  
Social Factory ◽  
The Common

The paper explores the relation of Michael Hardt and Antonio Negri's work to that of Deleuze and Guattari. The main focus is on Hardt and Negri's concept of ‘the common’ as developed in their most recent book Commonwealth. It is argued that the common can complement what Nicholas Thoburn terms the ‘minor’ characteristics of Deleuze's political thinking while also surpassing certain limitations posed by Hardt and Negri's own previous emphasis on ‘autonomy-in-production’. With reference to Marx's notion of real subsumption and early workerism's social-factory thesis, the discussion circles around showing how a distinction between capital and the common can provide a basis for what Alberto Toscano calls ‘antagonistic separation’ from capital in a more effective way than can the classical capital–labour distinction. To this end, it is demonstrated how the common might benefit from being understood in light of Deleuze and Guattari's conceptual apparatus, with reference primarily to the ‘body without organs’ of Anti-Oedipus. It is argued that the common as body without organs, now understood as constituting its own ‘social production’ separate from the BwO of capital, can provide a new basis for antagonistic separation from capital. Of fundamental importance is how the common potentially invents a novel regime of qualitative valorisation, distinct from capital's limitation to quantity and scarcity.

THE CONCEPT OF CONSTITUTIONAL AND LEGAL GUARANTEES OF ELECTORAL RIGHTS

2020 ◽  
Vol 10 (4) ◽  
pp. 85-90
Author(s):  
VLADIMIR TROYAN ◽  
Keyword(s):  
Scientific Research ◽  
Formal Aspect ◽  
Universal Approach ◽  
Right To Vote ◽  
Definition Of ◽  
The Right

The relevance of the interpretation of constitutional and legal guarantees of the right to vote is mediated by isolated scientific research in this area, as well as the lack of a universal approach to legal guarantees. In this regard, the purpose of the article is to argue and disclose the author’s definitive aspect of the claimed guarantees. In the work, the author named and characterized the normative (based exclusively on legal means) with the perspective of a branch of legal and technical; regulatory and institutional (combines the formal aspect with the activities of authorized entities) and associated legal (including a set of legal and other aspects) approaches to the definition of legal guarantees. Based on the second approach, as well as combining the guarantees of the right to vote directly guarantees of the subjective right itself and guarantees of its implementation, the author offers a definition of constitutional and legal guarantees of the right to vote.

Our Bodies, Whose Property?

2013 ◽  
Author(s):  
Anne Phillips
Keyword(s):  
Labor Markets ◽  
Personal Autonomy ◽  
The Body ◽  
Body Parts ◽  
Complex Issue ◽  
Human Organs ◽  
Property Owners ◽  
The Common ◽  
The Difference ◽  
The Right

No one wants to be treated like an object, regarded as an item of property, or put up for sale. Yet many people frame personal autonomy in terms of self-ownership, representing themselves as property owners with the right to do as they wish with their bodies. Others do not use the language of property, but are similarly insistent on the rights of free individuals to decide for themselves whether to engage in commercial transactions for sex, reproduction, or organ sales. Drawing on analyses of rape, surrogacy, and markets in human organs, this book challenges notions of freedom based on ownership of our bodies and argues against the normalization of markets in bodily services and parts. The book explores the risks associated with metaphors of property and the reasons why the commodification of the body remains problematic. The book asks what is wrong with thinking of oneself as the owner of one's body? What is wrong with making our bodies available for rent or sale? What, if anything, is the difference between markets in sex, reproduction, or human body parts, and the other markets we commonly applaud? The book contends that body markets occupy the outer edges of a continuum that is, in some way, a feature of all labor markets. But it also emphasizes that we all have bodies, and considers the implications of this otherwise banal fact for equality. Bodies remind us of shared vulnerability, alerting us to the common experience of living as embodied beings in the same world. Examining the complex issue of body exceptionalism, the book demonstrates that treating the body as property makes human equality harder to comprehend.

IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI

2017 ◽  
Vol 12 (2) ◽  
pp. 91
Author(s):  
Edial Rusli
Keyword(s):  
Creative Process ◽  
Single Unit ◽  
Digital Images ◽  
Visual Image ◽  
Construction Process ◽  
Multiple Images ◽  
Artistic Process ◽  
Visual Imagination ◽  
Human Thought ◽  
The Media

AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.

Sign in / Sign up

Export Citation Format

Share Document