scholarly journals Espaços deslocados: poéticas de interação entre arte e tecnologia

REPERTÓRIO ◽  
2017 ◽  
pp. 298
Author(s):  
Regina Miranda
Keyword(s):  
Performing Arts ◽  
Empty Space ◽  
Scenic Design ◽  
The Body ◽  
Theoretical Contribution ◽  
Art And Technology ◽  
Geometric Configurations ◽  
The Creation ◽  
New Interactions ◽  
The Relationship

<p class="p1">Resumo:</p><p class="p2">Ao tomar como contexto teórico as pesquisas em Harmonias Espaciais desenvolvidas pelo teórico de movimento Rudolf Laban na primeira metade do século XX, este artigo considera o longo predomínio da visão de um <em>alguém</em> que habitava um <em>espaço vazio </em>separado do corpo e aponta perspectivas contemporâneas, que<em> </em>tornaram o<em> </em>espaço entre/em ambos mais fluido e plástico. A contribuição teórica aqui apresentada indicou a necessidade da inclusão de configurações geométricas mais instáveis no campo Labaniano e também a criação de percursos para a encarnação de conceitos, que pudessem representar essas novas interações. Como um dos territórios da pesquisa artística que fundamenta esta narrativa, o encontro com a tecnologia foi explorado, inicialmente, como uma forma de ampliar a experiência corpo-espacial dos atuantes formais e informais de uma performance, oferecendo a possibilidade de um desenho cênico que incluía a articulação entre espaços físicos e virtuais e de conexões espaciais de livre escolha. Mais recentemente, a relação se ampliou em uma experiência interdisciplinar de criação cênica e coreográfica em interatividade com processos computacionais. Nos exemplos apontados, o que rege a escolha das tecnologias é o interesse artístico e conceitual de investigar como cada tecnologia pode colaborar na criação, deslocamento e distorção de espaços performáticos.</p><p class="p3"><span class="s1">Palavras-chave: </span>Arte e tecnologia. Artes cênicas. Campo labaniano. Corpo-espaço. Performance imersiva.</p><p class="p3"> </p><p>SHIFTING SPACES: POETICS OF INTERACTION BETWEEN ART AND TECHNOLOGY</p><p class="p1"><em>Abstract:</em></p><p class="p5"><em>Embracing as theoretical context the Space Harmonies’ research developed by movement theorist Rudolf Laban during the first half of the 20th century, this paper considers the long predominance of the vision of someone who inhabited an empty space separated from the body, and points toward contemporary perspectives, which have made the space between/in both more fluid and plastic. The theoretical contribution presented here indicated the need to include more unstable geometric configurations in the Labanian field and the creation of paths for the incarnation of concepts, which could represent these new interactions. As one of the areas of artistic research that underlies this narrative, the encounter with technology was initially explored as a way to broaden the body-space experience of the formal and informal participants of a performance. It offered the possibility of a scenic design that included the articulation between physical and virtual spaces and free-choice spatial connections. More recently, the relationship expanded in an interdisciplinary experience of scenic and choreographic creation in interactivity with computational processes. In the mentioned examples, what defines the choice of the technologies is the artistic and conceptual interest to investigate how each technology can collaborate in the creation, displacement and distortion of performative spaces.</em></p><p class="p3"><span class="s1"><em>Keywords: </em></span><em>Art and technology. Performing arts. Labanian field. Body-space. Immersive performance.</em></p>

Performing Arts

2020 ◽  
pp. 151-186
Author(s):  
Ted Nannicelli
Keyword(s):  
Moral Responsibility ◽  
Performance Art ◽  
Performing Arts ◽  
Art Music ◽  
Ethical Dimension ◽  
Bodily Harm ◽  
The Creation ◽  
Art Performance ◽  
Performing Art ◽  
The Relationship

In a discussion of three kinds of performing art—performance art, music, and theatre—this chapter explores three topics: (1) The performer’s moral responsibility to her- or himself. When this topic is broached in the criticism of an artwork, it is often because a performer has done something that raises the question of whether he or she should treat him- or herself in that way—often, but not always, in a way that involves bodily harm. (2) The ethical dimension of the relationship between performers. In cases of collaboration, the creation of such performances necessarily involves an interpersonal dynamic, which, in turn, has an essential ethical dimension. It also considers the additional complication of performances in which audience members contribute to the performance in a sufficiently robust way as to be regarded as co-performers or co-creators. (3) The ethical dimension established by the relationship between the performer(s) and the (non-interactive) audience, rather than performers and other performers.

scholarly journals A Biosemiotic Modeling of the Body-“Self” Synechism

2021 ◽  
Author(s):  
Maria Asuncion L. Magsino
Keyword(s):  
The Body ◽  
The Self ◽  
Recent Theory ◽  
Main Question ◽  
Semiotic System ◽  
The Creation ◽  
Living Organisms ◽  
Body Self ◽  
The Mind ◽  
The Relationship

As a counterargument to the Cartesian split that has impacted both speculative and practical fields of knowledge and culture, we propose Peirce’s doctrine of synechism to show the continuity in the semiotic activity that moves from the body as an Interpretant to the emergence of another Interpretant called the “self.” Biosemiotics, a nascent field of interdisciplinary research that tackles inquiries about signs, communication, and information involving living organisms is used as the framework in the discussion. The main question of whether a non-material “self” can emerge from a material body is tackled in many stages. First, the biosemiotic continuum is established in the natural biological processes that takes place in the body. These processes can be taken as an autonomous semiotic system generating the “language” of the body or the Primary Modeling System (PMS). Second, synechism is also observed in the relationship between the mind and the body and this is evident in any physician’s clinical practice. The patient creates a Secondary Modeling System (SMS) of how she perceives what the body communicates to her regarding its state or condition. Finally, the question about whether the emergence of “self” is synechistic as well is tackled. There is one organ from which emerges an Interpretant that is capable of generating a dialog between a Subject, that is the “self,” with its Object, and that is the brain. It is the primordial seat of specifically human activities like thought and language. The recent theory on quantum consciousness supports the doctrine synechism between the body as Interpretant to the “self” as Interpretant. This synechism is crucial for the creation of Secondary Models of “reality” that will, in turn, determine the creation of Tertiary Models more familiarly called culture.

Traces of a Tango: The Club Invites Me to Dance—a Study of Materiality in Movement

2016 ◽  
Vol 2016 ◽  
pp. 417-424
Author(s):  
Paola Vasconcelos Silveira
Keyword(s):  
Performing Arts ◽  
The Body ◽  
Porto Alegre ◽  
Academic Field ◽  
Dance Training ◽  
Starting Point ◽  
Master's Thesis ◽  
The Relationship ◽  
The City ◽  
Two Bodies

This paper is based on my master's thesis, which was developed in 2013–2014 at the Graduation Program in Performing Arts at the Federal University of Rio Grande do Sul (Brazil). This study aimed to reflect on the processes of developing an artistic experiment conducted from the encounter between my body and the club in transient places in the city of Porto Alegre. The starting point emerged from the experience of the artist in the practice of tango from a dialogue bias between peers. The object, in this proposal, becomes a present and active body—a lively piece that will enhance a one-to-one conversation. It is thus intended that the dance results from the relationship between two bodies, and not from the manipulation of one body over another. Therefore, the study finds resonance in the theoretical possibility of thinking of non-human bodies as vibrant matter with the capability to generate relationships and movements. In that way, this meeting would lead to a loss of the self. This study also contributes to a debate on proposals for dance training, as this research has chosen a path of building the danced relationship with the object from the kinesthetic perception of the body in motion. Finally, this study tenses the production of knowledge in the academic field, by assuming that the body produces a kind of knowledge—an embodied knowledge—which must be recognized and legitimized.

Pathways of a Disassembly: From the Poetics of the Body to the Contemporary Scene

2016 ◽  
Vol 2016 ◽  
pp. 174-179
Author(s):  
Silvia Maria Geraldi ◽  
Marisa Martins Lambert
Keyword(s):  
The Body ◽  
Structural Systems ◽  
Educational Performance ◽  
Use Of Space ◽  
Artistic Process ◽  
Lecture Demonstration ◽  
The Creation ◽  
The Relationship ◽  
Made In

This lecture-demonstration aims to synthesize a creative journey that resulted in the production of the choreographic work Rehearsal on Small Distances: Study to Infinity. This work investigated the relationship between body/space from two main references: the anthropological studies of Edward Hall regarding the use of space by humans within the context of culture and the research on the phenomenological space conducted by the somatic educator Hubert Godard. Communication will be made in the disassembly of the scene, a kind of educational performance, with the intention of making the artistic process visible and promoting a discussion about the structural systems involved in the creation.

The Nietzschean Body and the Death of God

2020 ◽  
Vol 2 (1) ◽  
pp. 3-21
Author(s):  
Nibras Chehayed
Keyword(s):  
The Body ◽  
Moral Concept ◽  
Death Of God ◽  
The Status ◽  
The Creation ◽  
The Dead ◽  
The Relationship

Abstract “God is dead!” This is one of the most famous claims in Nietzsche’s philosophy, difficult to fully affirm. While the higher men fail to overcome the ghost of God, Zarathustra joyfully affirms God’s death. This affirmation deconstructs the metaphysical and moral concept of “divinity,” turning it into a metaphor. The new metaphor of the divine, mainly developed through the figure of Dionysius, expresses the capacity of affirming life beyond the old values, related to the dead God. It also involves the creation of a higher body beyond the body of despair, associated with these values. The purpose of this paper is to study the relationship between the death of God and the body in Nietzsche’s account by analyzing the meanings of this death for the higher men, the question of the divine in Zarathustra’s account, and the status of the Dionysian body.

scholarly journals Developing Digital Storytelling of Wayang Topeng Malang As Platform for Cultural Literacy for Students

2021 ◽  
Author(s):  
Wida Rahayuningtyas ◽  
Andy Pramono ◽  
Sumarwahyudi Sumarwahyudi ◽  
Robby Hidajat ◽  
Mitra Istiar
Keyword(s):  
Performing Arts ◽  
Digital Storytelling ◽  
Cultural Literacy ◽  
2D Animation ◽  
The Creation ◽  
The Relationship

Digital storytelling has been a popular part of education used as a medium for telling stories. A digital storytelling platform can facilitate the development of collaborative stories. If the storytelling process is facilitated properly, it will lead to the creation of stories that enhance the relationship between the players. Wayang Topeng is one of the traditional performing arts in Indonesia that needs to be told digitally so that students become more interested in and understand the stories about Wayang Topeng Malang. This is an R&D research that has used the modified Borg and Gall concept. Data were collected through observation, interviews and documents. The result of this study was the development of a digital introduction of the characters of Wayang Topeng Malang in the form of 2D animation. The digital storytelling application was uploaded on YouTube, making the content accessible to everyone. Keywords: digital storytelling, Wayang Topeng

The use of Body Surface Index as a Better Clinical Health indicators Compare to Body Mass Index and Body Surface Area for Clinical Application

2018 ◽  
pp. 131-136
Author(s):  
Shirazu I. ◽  
Theophilus. A. Sackey ◽  
Elvis K. Tiburu ◽  
Mensah Y. B. ◽  
Forson A.
Keyword(s):  
Surface Area ◽  
Body Surface Area ◽  
Clinical Application ◽  
Body Surface ◽  
Body Height ◽  
Health Indicators ◽  
The Body ◽  
Body Parameters ◽  
The Relationship ◽  
Individual Body

The relationship between body height and body weight has been described by using various terms. Notable among them is the body mass index, body surface area, body shape index and body surface index. In clinical setting the first descriptive parameter is the BMI scale, which provides information about whether an individual body weight is proportionate to the body height. Since the development of BMI, two other body parameters have been developed in an attempt to determine the relationship between body height and weight. These are the body surface area (BSA) and body surface index (BSI). Generally, these body parameters are described as clinical health indicators that described how healthy an individual body response to the other internal organs. The aim of the study is to discuss the use of BSI as a better clinical health indicator for preclinical assessment of body-organ/tissue relationship. Hence organ health condition as against other body composition. In addition the study is `also to determine the best body parameter the best predict other parameters for clinical application. The model parameters are presented as; modeled height and weight; modelled BSI and BSA, BSI and BMI and modeled BSA and BMI. The models are presented as clinical application software for comfortable working process and designed as GUI and CAD for use in clinical application.

The Agreement of Uncontroversial Evidence and the Presumption of Innocence: An Insoluble Dilemma?

2002 ◽  
Vol 6 (1) ◽  
pp. 25-45 ◽  
Author(s):  
Peter Duff
Keyword(s):  
Criminal Justice ◽  
Criminal Trial ◽  
Presumption Of Innocence ◽  
Justice Process ◽  
Criminal Justice Process ◽  
The Creation ◽  
The Relationship

On 1 April 1996, a rather odd provision was introduced into the Scottish criminal justice process, namely a duty on both prosecution and defence to try to agree uncontroversial evidence in advance of criminal trial.1 As far as the writer is aware, such a provision is unique, although the philosophy underlying its introduction is not totally alien to inquisitorial systems of criminal justice.2 What is particularly peculiar about this duty is that there is no sanction for a failure, however unreasonable, to agree uncontroversial evidence.3 The lack of a sanction resulted from a concern that the creation of any penalty would impinge unjustifiably upon the rights of the accused. The intention in this article is to explore in detail the relationship between the duty to agree uncontroversial evidence and the position of the accused, and to suggest that the imposition of a sanction for a breach of this duty is not as problematic as was thought by those responsible for the legislation.

CONCEPTUALISING RISK CULTURE ON ERM IMPLEMENTATION IN CONSTRUCTION COMPANIES

2020 ◽  
Vol 17 (1) ◽  
pp. 59
Author(s):  
Ching Ching Wong
Keyword(s):  
Risk Management ◽  
Risk Identification ◽  
The Body ◽  
Risk Indicators ◽  
Construction Companies ◽  
Risk Appetite ◽  
Risk Culture ◽  
Risk Treatment ◽  
Managing Risk ◽  
The Relationship

Enterprise Risk Management (ERM) is an effective technique in managing risk within an organization strategically and holistically. Risk culture relates to the general awareness, attitudes and behaviours towards risk management in an organisation. This paper presents a conceptual model that shows the relationship between risk culture and ERM implementation. The dependent variable is ERM implementation, which is measured by the four processes namely risk identification and risk assessment; risk treatment; monitor and consult; communicate and consult. The independent variables under risk culture are risk policy and risk appetite; key risk indicators; accountability; incentives; risk language and internal relationships. This study aims to empirically test the relationship between risk culture and ERM implementation among Malaysian construction public listed companies. Risk culture is expected to have direct effects and significantly influence ERM. This study contributes to enhance the body of knowledge in ERM especially in understanding significant of risk culture that influence its’ implementation from Malaysian perspective.

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