scholarly journals Entrevista com Christian Mio Loclair

REPERTÓRIO ◽  
2017 ◽  
pp. 376
Author(s):  
Francisco Barretto
Keyword(s):  
Creative Process ◽  
Digital Age ◽  
Interactive System ◽  
Contemporary Dance ◽  
Media Arts ◽  
Know How ◽  
Artistic Production ◽  
Computational Code ◽  
Urban Dance

<p class="p1">Resumo:</p><p class="p2">Essa entrevista busca compreender as conexões estabelecidas pelo dançarino, coreógrafo e engenheiro de computação CHRISTIAN MIO LOCLAIR entre essas áreas de conhecimento nas quais se especializou com distinção. Considerando duas características marcantes do entrevistado, a saber, ele é campeão de vários festivais de dança urbana e também um exímio programador, interessa saber como ele percebe esse entrelaçamento entre movimento e código no espaço da dança contemporânea, espaço ao qual encaminhou sua produção artística. A entrevista pretende compreender um pouco do processo criativo da artista, bem como suas próprias sensações como dançarino e programador. Diferente da grande maioria dos projetos nessa área, ele é autor e usuário do sistema interativo, ele cria o código computacional para interagir com seu próprio corpo buscando novas estéticas. Essa entrevista pretende falar desse corpo-híbrido da era digital.</p><p class="p3"><span class="s1">Palavras-chave:<span class="Apple-converted-space"> </span></span>Dança urbana. Arte mídia. Sistemas interativos. Processo criativo.</p><p class="p3"> </p><p>INTERVIEW WITH CHRISTIAN MIO LOCLAIR</p><p class="p1"><em>Abstract:</em></p><p class="p5"><em>This interview seeks to understand the connections established by the dancer, choreographer and computer engineer CHRISTIAN MIO LOCLAIR among those areas of knowledge in which he specializes with distinction. Considering two outstanding characteristics of the interviewer, namely, he is champion of several urban dance festivals and an excellent programmer, it is interesting to know how he perceives this entanglement between movement and code in the space of contemporary dance, space to which he directed his artistic production. The interview aims to understand a little of the creative process of the artist, as well as their own feelings as a dancer and programmer. Unlike most existing projects in this area, he is the author and the user of the interactive system, he creates the computational code to interact with his own body seeking new aesthetics. This interview intends to speak of this hybrid-body of the digital age.</em></p><p class="p3"><span class="s1"><em>Keywords:<span class="Apple-converted-space"> </span></em></span><em>Urban dance. Media arts. Interactivity systems. Creative process.</em></p>

Non-Finitoin Contemporary Dance Making

2016 ◽  
Vol 2016 ◽  
pp. 266-271
Author(s):  
Ariadne Mikou
Keyword(s):  
Visual Culture ◽  
Creative Process ◽  
Digital Age ◽  
Contemporary Dance ◽  
The Creation ◽  
Economic Depression ◽  
The Impact

The affiliation of dance with the academy, which requires a written account and documentation of the process; the impact of the “digital age”; and the visual culture that facilitates the creation of online blogs and promotes projects such as William Forsythe's “choreographic objects” [Synchronous Objects(2009);Motion Bank(2010–2013)]; but also the economic depression, which restricts dance artists from arriving at their final products, might be some of the possible reasons that explain the shift towards the artistic status ofnon-finito, approached here as a creative process that also manifests through dance scores. However, what is clear so far is that since dance became less and less narrative, the sharing of process inside or outside academia started to increase rapidly, and the value of dance as product is being challenged.

Media Arts: Arts Education for a Digital Age

2010 ◽  
Vol 112 (8) ◽  
pp. 2118-2153 ◽  
Author(s):  
Kylie A. Peppler
Keyword(s):  
Classroom Environment ◽  
Arts Education ◽  
New Technologies ◽  
Research Question ◽  
Digital Age ◽  
Digital Design ◽  
Media Art ◽  
Education Curriculum ◽  
Media Arts ◽  
K 12

Background/Context New technologies have been largely absent in arts education curriculum even though they offer opportunities to address arts integration, equity, and the technological prerequisites of an increasingly digital age. This paper draws upon the emerging professional field of “media arts” and the ways in which youth use new technologies for communication to design a 21st-century K-12 arts education curriculum. Description of prior research on the subject and/or its intellectual context and/or policy context Building on sociocultural theories of constructionism as well as Dewey's theories of the arts and aesthetics as a democratic pedagogy, this study draws upon over three years of extensive field study at a digital design studio where underprivileged youth accessed programming environments emphasizing graphics, music, and video. Purpose/Objective/Research Question/Focus of the Study This study documents what youth learn through media art making in informal settings, the strengths and limitations of capitalizing on youth culture in media art production, and the distinct contributions that media arts education can make to the classroom environment. Research Design A mixed-methods approach was utilized that analyzed data from participants and professional interviews, an archive of youths’ media art, and videotape documentation of youth at work on their projects. Conclusions/Recommendations Findings point to the ways in which youth engage with technology that encourages active learning and how new types of software can be used to illustrate and encourage this process.

Hidden Creators, Silent Authors

2016 ◽  
Vol 2016 ◽  
pp. 379-385
Author(s):  
Paola Secchin Braga
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Point Of View ◽  
Main Issue ◽  
Contemporary Dance ◽  
Creative Work ◽  
Paris Opera ◽  
The People ◽  
Brazilian Version ◽  
The Creation

To be interpreter and at the same time creator seems to be the rule in contemporary dance. It is expected of the dancer to contribute to the making of the piece in which he will appear. Similarly, the choreographer's assistant (also referred as rehearsal assistant) has an active role in the process of creating a dance piece. This paper proposes an analysis of a creative process in which the question of authorship emerges—in our point of view—as the main issue. The onomastic pieces of French choreographer Jérôme Bel will serve as the basis of our analysis, and especially the piece called Isabel Torres, in which the interpreter and the choreographer's assistant had a much more important role in the creation than the choreographer himself. Premiered in 2005, Isabel Torres was supposed to be a Brazilian version of Véronique Doisneau (created in 2004, for the Paris Opera). The creative work made by the dancer and the rehearsal assistant made of it more than a mere version: Isabel Torres is an autonomous piece—so autonomous that Bel offered it to both dancer and assistant, to present it wherever they wished. Who signs Isabel Torres? In which terms is it presented in programs? Do dancer and assistant consider themselves as authors? How does the choreographer deal with it? The absence of the choreographer, the people involved in it, and the kind of work developed in the creative process makes us question the notion of authorship in contemporary dance pieces.

scholarly journals Privacy Risks and Security Practices in Digital Technologies

2019 ◽  
Vol 8 (4) ◽  
pp. 7459-7462
Keyword(s):  
Digital Technologies ◽  
Digital Age ◽  
Business Organizations ◽  
Digital Products ◽  
Know How ◽  
The People ◽  
Private Data ◽  
Security Practices ◽  
The World ◽  
Privacy Risks

Digital Technologies are getting worldwide popular. People are bounded with emerging technologies to make their life faster and smarter. Business organizations over the world taking this as an opportunity to launch more digital products to cover people. Users not aware of the importance of their private data. But the others know how to make use of it in favor of them. People need to be conscious and tailored to life in the digital age. This paper reveals the technical loop holes in variety of current digital applications that are familiar among the people. The aim is to create awareness among the people on security practices to safeguard from digital attacks.

Epilogue to an Epilogue

2017 ◽  
Author(s):  
Mark Franko
Keyword(s):  
Historical Context ◽  
Contemporary Dance ◽  
Artistic Production

This chapter provides a historical context for reenactment in contemporary dance in experiments in the 1980s with the reconstruction and reinvention of dance modernism and baroque dance, as well as offshoots of the baroque. It posits the importance of the artist’s dual emplacement in multiple senses: between past and present, between intellectual and artistic production, between memory and forgetting. Through an analysis of Martin Nachbar’s reenactment of the solo cycle Affectos Humanos by Dore Hoyer, it then proceeds to elaborate a poetics of the archive and the notion of choreography itself as an “order of places” necessary to memory itself.

The Activist Craft: Learning Processes and Outcomes of Professional Activism

2021 ◽  
pp. 074171362098825
Author(s):  
Ana L. Costa ◽  
Henrique Vaz ◽  
Isabel Menezes
Keyword(s):  
Education Research ◽  
Adult Education ◽  
Qualitative Study ◽  
Creative Process ◽  
Work Experience ◽  
Political Socialization ◽  
Community Intervention ◽  
Learning Processes ◽  
Political Consciousness ◽  
Know How

Work as a place of activism is a vast field to be explored in adult education research, particularly within educational, social, and community intervention with people in situations of vulnerability. This qualitative study aims to unveil the richness of activists’ learning processes and outcomes by reflecting on the pedagogy of professional activism, with professionals working in Portugal. Their sharing reveals a thematic influence and interdependence between the dimensions “How?” and “What?” of professional activism learning and the themes composing them—respectively, “political socialization” and “work experience”; and “critical, social and political consciousness,” “sense of (in)justice and empathy,” and “know-how to speak out.” As professionals learn how to become activists, they also construct this praxis, and themselves as professionals, giving meaning and (re)defining their activist craft, through a learning-creative process.

scholarly journals An Infographic Approach to Presenting Dance Data from the Choreographer's Studio

2019 ◽  
Vol 2 (2) ◽  
Author(s):  
Stephan Jürgens ◽  
Carla Fernandes ◽  
Vito Evola
Keyword(s):  
Case Studies ◽  
Creative Process ◽  
Documentary Film ◽  
Data Sets ◽  
Contemporary Dance ◽  
Creative Processes ◽  
Artistic Vision ◽  
3D Environments ◽  
Film Productions ◽  
2D And 3D

In this paper the authors introduce their infographic approach for the presentation of dance data from two extensive case studies on the creative processes of two very dissimilar contemporary choreographers. This approach has been developed in the framework of the BlackBox - Arts & Cognition Project and was implemented in both 2D and 3D environments, resulting in the creation of four short animated infographic films, a documentary film, and a multiple viewport platform for two 360-degree dance videos. Drawing on selected examples from these film productions, the authors discuss in two distinct case studies, which aspects of contemporary dance and choreographic thinking are computed and visualized in ways that allow to access each choreographer’s unique artistic vision and creative process. Based on this discussion, the authors suggest to consider a broader perspective on what might constitute ‘dance data’, and elaborate on how such data sets can be presented visually employing embodied filmmaking and infographic storytelling techniques.

scholarly journals Screendance for Adult Dancers:

10.29173/mm12 ◽  
2021 ◽  
pp. 61-75
Author(s):  
Emily Noton
Keyword(s):  
Creative Process ◽  
Technology Use ◽  
Contemporary Dance ◽  
Live Performance ◽  
Limited Budget ◽  
Art Form ◽  
Field Notes ◽  
Choreographic Process

The purpose of this research creation project was to engage in and analyze a process of creating a digital contemporary dance composition. To do this, the researcher completed a choreographic process with a video component for a live performance at a theatre. Observational field notes were collected and analyzed through an interpretive lens to identify the unique challenges that arose during this process. The findings provide insights into the choreographic process, the challenges of navigating technology use within a limited budget, and the uncertainty inherent in a creative process. Furthermore, the project sought to provide an alternative to the weekly technique class in order to further engage adults and the audience in the art form.  

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