scholarly journals Deslocamentos ontológicos: multissensorialidade e corporalização na terceira onda das interfaces digitais[Andrea Davidson. Tradução: Maria Albertina Silva Grebler, Diego Pizarro]

REPERTÓRIO ◽  
2017 ◽  
pp. 11
Author(s):  
Andrea Davidson
Keyword(s):  
New Media ◽  
Embodied Cognition ◽  
Third Wave ◽  
Sensory Awareness ◽  
Bodily Experience ◽  
Interactive Performance ◽  
Simple Tool ◽  
Perceptual Mode ◽  
Autonomous Agency

<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p3">Através do exame da ontologia e do lugar da dança digital no espectro da expressão coreográfica contemporânea, este artigo se propõe a considerar a interação e o agenciamento do interoceptivo (somático) e do exteroceptivo (tecnológico) na terceira onda das interfaces digitais para a dança. Ele argumenta que uma ontologia da dança digital pode ser qualificada sumariamente como um modo <em>ativo de experiência sensório-perceptiva </em>capaz de revelar novas dimensões da recepção estética, modos de performatividade e expressões da presença corporal na dança que emergem com/através do <em>corpo mediado</em>. Ele não considera a tecnologia como estrangeira, como um agenciamento autônomo, um sistema ou uma simples ferramenta, mas sim como um meio de estimular a consciência sensória expandida e forjar relações com a experiência corporal somática (interna) do indivíduo. Referindo-se a uma série de trabalhos recentes que estabelecem as condições para tais experiências, considera ainda de que forma os trabalhos digitais desenvolvem e enfatizam a <em>perspectiva </em>como uma estratégia dramatúrgica e estética e, consequentemente, como as novas interfaces de mídia para a dança podem ser consideradas “<em>novos dispositivos de ver-sentir</em>”.<span class="Apple-converted-space"> </span></p><p class="p4"><span class="s1">P</span>alavras<span class="s1">-</span>chave<span class="s1">:<span class="Apple-converted-space"> </span></span>Dança digital. Corporalização. Performance interativa. Cognição corporalizada. Novos dispositivos de ver-sentir.<span class="Apple-converted-space"> </span></p><p class="p4"><span class="Apple-converted-space"><br /></span></p><p class="p1"><em>ONTOLOGICAL SHIFTS: MULTI-SENSORIALITY AND EMBODIMENT IN A THIRD WAVE OF DIGITAL INTERFACES</em></p><p class="p1"><em>Abstract:<span class="Apple-converted-space"> </span></em></p><p class="p3"><em>Examining the ontology and place of digital dance within the spectrum of contemporary choreographic expression, this article proposes to consider the interweaving of interoceptive (somatic) and exteroceptive (technological) agency in a third wave of digital interfaces for dance. It argues that an ontology of digital dance might be summarily qualified as an active sensory-perceptual mode of experiencing, capable of revealing new dimensions of aesthetic reception, modes of performativity and expressions of corporeal presence in dance that emerge with/through the mediated body. It views technology not as a foreign, autonomous agency, system or simple tool, but rather as a means of stimulating heightened sensory awareness and forging relations with the individual’s somatic (inner) bodily experience. While referencing a range of recent works that establish the conditions for such experiences, it further proposes to consider how digital works develop and underscore perspective as a dramaturgical strategy and aesthetic, and as a consequence, how new media interfaces for dance can be considered ‘new viewing-sensing device’.<span class="Apple-converted-space"> </span></em></p><p class="p4"><span class="s1"><em>K</em></span><em>eywords</em><span class="s1"><em>:<span class="Apple-converted-space"> </span></em></span><em>Digital dance. Embodiment. Embodied cognition. Interactive performance. </em>New viewing-sensing devices.<span class="Apple-converted-space"> </span></p>

Bill Viola and the Cinema of Indefinite Bodily Experience

2017 ◽  
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
New Media ◽  
Digital Media ◽  
High Speed ◽  
Digital Video ◽  
Digital Technologies ◽  
High Speed Camera ◽  
Bodily Experience ◽  
The Uncanny ◽  
Sense Of Time

This chapter examines ghostly gestures that we cannot consciously experience, but only perceive through digital technologies. Internationally recognized as a leading video artist, Viola’s work focuses on the intersections of new media and experiences like death, consciousness, spirituality, and emotion. Many of his recent installations manipulate our sense of time by using a special high-speed camera. Uncanny gestures (those that are embodied but unreadable) emerge as the film is transferred to digital video and slowed down. The emergence of gestures that we can recognize once visualized through digital media as our own, but we cannot recall – that is, we cannot reenact or remember – points to something uncanny about gesture and its relation to affect. Rather than offering us a new understanding of human interiority or an opportunity to make sense of the uncanny, Viola’s work leaves us only with uncertainty as a visceral affect.

scholarly journals Politics of Imperceptibility: Philosophy, Post-Feminism and New Media Arts

2013 ◽  
Vol 1 (1) ◽  
pp. 66-79
Author(s):  
Audrone Žukauskaite
Keyword(s):  
New Media ◽  
Film Theory ◽  
Qualitative Change ◽  
Third Wave ◽  
Media Arts ◽  
The Third ◽  
Feminist Politics ◽  
Conceptual Strategy ◽  
Second Wave

Abstract The essay discusses Deleuze and Guattari’s notion of becoming-imperceptible and raises the question to what extent it can be interpreted in terms of feminist politics and seen as a specific strategy for new media arts. Although the notion of becoming-imperceptible was condemned by second wave feminists, recent post-feminists representing the third wave argue not for politics of visibility but for politics of invisibility. Examining the practices of Lithuanian feminist media artists, the essay argues that becoming-imperceptible in new media arts means not an escape from visibility or a drive toward annihilation but a new conceptual strategy: becoming-imperceptible creates the potential for social and political change. This new conceptual strategy can be related to the new quality of the image: in this regard there is a close affinity between Deleuze and Guattari’s notion of becoming-imperceptible and the notion of the crystalline image which appears in Deleuze’s film theory: both notions engender duration, temporality and qualitative change. Therefore the essay claims that the crystalline image does not represent the world but recreates this world through multiple, changing and virtual images.

Contemporary Art and Cybernetics: Waves of Cybernetic Discourse within Conceptual, Video and New Media Art

Leonardo ◽  
2012 ◽  
Vol 45 (1) ◽  
pp. 57-63
Author(s):  
Etan J. Ilfeld
Keyword(s):  
Information Theory ◽  
New Media ◽  
Contemporary Art ◽  
Conceptual Art ◽  
Video Art ◽  
Digital Art ◽  
Major Influence ◽  
Third Wave ◽  
Media Art ◽  
New Media Art

This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art—specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s–1970s conceptual art, 1970s–1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one often based on historical, social and cybernetic narratives. This paper echoes Krzystof Ziarek's call for a Heideggerian poiesis and Adorno/Blanchotnian “nonpower” within conceptual art and advocates Ziarek's notion of “powerfree” artistic practices within new media and transgenic art.

Expanded Cinema Revis(it)ed

2020 ◽  
pp. 100-154
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Digital Technology ◽  
Social Activity ◽  
Theory And Practice ◽  
Media Convergence ◽  
Third Wave ◽  
Film Exhibition ◽  
Avant Garde ◽  
Expanded Cinema ◽  
Major Factors

Chapter 2 addresses a third wave of expanded cinema, running from the mid-1990s to the present. Though in dialogue with art world developments, particularly the prevalence of moving images in that world, this wave again rose out of the theory and practice of avant-garde cinema. Hence, it reflects that film culture’s skepticism about digital technology, media convergence, and the “death” of cinema. Chapter 2 considers two major factors in the resurgence of expanded cinema. The first is the spread of digital technology and the implications of this for filmmaking and the theorization of cinema’s ontology. In the wake of “new media’s” ascendency in the “digital age,” experimental filmmakers and critics took up a renewed investigation of the nature of cinema and the role that specific physical media (e.g., celluloid film) play in our conception it. Prominent theorists of new media have argued against such specificity positions, employing concepts like “remediation” and “media convergence,” which speak to a merging of media and art forms quite contrary to the broadly modernist notions of avant-garde filmmakers—including those who produced expanded cinema during its “second wave.” The second major factor for expanded cinema’s new life is the microcinema, a form of film exhibition specific to experimental cinema that appeared across the United States, Canada, and Europe beginning the mid-1990s. Microcinemas are characterized by a highly participatory social environment, wherein film screenings blend into other kinds of social activity. Microcinemas are thus models for expanded cinema, each showcasing cinema’s adaptability to varying spaces and formal heterogeneity.

scholarly journals Sound, silence, resonance, and embodiment: choreographic synaesthesia

IDEA JOURNAL ◽  
2020 ◽  
Vol 17 (02) ◽  
pp. 215-229
Author(s):  
Lucia Piquero Alvarez
Keyword(s):  
Embodied Cognition ◽  
Creative Work ◽  
Embodied Experience ◽  
Holistic View ◽  
Bodily Experience ◽  
Enactive Cognition ◽  
Formal Properties ◽  
Taste And Smell

This article explores the potential of a new conceptualisation of dance spectatorship informed by theories of embodied and enactive cognition. The approach adopted here incorporates the bodily experience and the intellectual processing of information that the dance spectator goes through. This perspective enables a discussion on the intersection of referential elements, spectator’s knowledge and background, and formal properties of the work into the experience that provide a holistic view of the work of dance and its effects through the concept of synaesthesia. Meaning moves, sounds feel, images taste and smell. In order to build this understanding, this particular study makes use of an enquiry into experience and body-environment relationships to approach the multi-modal experience of watching dance. I explore the idea of cross-sensory embodied experience as the base for dance spectatorship. I propose that synaesthesia will be useful in modelling spectatorial experience of dance. Further to this, I contend that although maybe not fully consciously, it is possible that the creative agents—the choreographer-director in this case—already have an understanding of this potential. Through this they manipulate elements within their works until they experience something akin to cross-sensory engagement in themselves. This perspective hence also allows new forms of analysis and understandings of creative work in performance. Through this approach, the article discusses a combination of apparently separate elements and senses in performance, with focus on sound, silence, and resonance through the notion of synaesthesia. Discussion is illustrated and exemplified though analysis of choreographer Wayne McGregor’s Woolf Works (2015), which not only expresses ideas, emotions, and sensations through the medium of dance, but demonstrates an understanding of dance as cross-sensory potentiality, able not only to deal with deep thematic elements, but also remain viscerally engaging. Embodied cognition, then, is proposed as the best framework to discuss the spectatorial experience of such work.

Special Issue on “New Media and Social Psychology”

2006 ◽  
Vol 37 (2) ◽  
pp. 57-57
Author(s):  
Bernad Batinic ◽  
Anja Goeritz
Keyword(s):  
Social Psychology ◽  
New Media ◽  
Special Issue

„Embodied Cognition”

2010 ◽  
Vol 17 (4) ◽  
pp. 120-129 ◽  
Author(s):  
Sian L. Beilock ◽  
Tanja Hohmann
Keyword(s):  
Embodied Cognition

Zusammenfassung. Im Gegensatz zu traditionellen Ansätzen, in denen das Gehirn als abstrakter Informationsprozessor gesehen wurde, gehen aktuelle Theorien davon aus, dass unsere Repräsentationen von Objekten und Ereignissen in einem engen Zusammenhang mit den damit verbundenen Handlungsmöglichkeiten stehen (sog. „embodied cognition”). Unsere Kognitionen, d. h. wie wir Objekte oder auch Ereignisse in der Umwelt repräsentieren, hängen demnach von den eigenen Handlungserfahrungen ab. Das Ziel dieses Übersichtsartikels besteht darin, aktuelle Ergebnisse sowohl aus der verhaltens- als auch der neurowissenschaftlichen Forschung zu dokumentieren. Diese zeigen, dass sensomotorische Erfahrungen die Kognitionen beeinflussen. Bewegungserfahrung spielt deshalb eine zentrale Rolle innerhalb des „embodied cognition Ansatzes”. Aus diesem Grund erscheint es sinnvoll, dass Forscher aus den Bereichen der Kognitions- und Neurowissenschaften sowie der Sportpsychologie und Motorikforschung zusammenarbeiten, um die Theorien zu „embodied cognition” weiter voran zu bringen.

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