Abstraction

This text elaborates an understanding of abstraction as fundamental to how we think from a closer look at relationships between abstraction, movement, materiality and lived experience. Starting from Whitehead-inspired reflections on ab­straction by Alberto Toscano and Brian Massumi, the differences between their respective readings of his work are shown to be indicative for their different conceptions of the relationships between abstraction, the concrete, and lived experience. The text then continues to elaborate how Alva Noë’s enactive approach to perception illumi­nates the central role of movement and sensorimotor skills in the emergence of abstractions from the continuity of process that is reality, and could contribute to further understanding of the relationship between movement and abstraction as what Massumi describes as the incorporeal dimension of the real. Finally, this text reflects on the potential of movement practices (including dance) and technology to become part of how abstraction is achieved.

The Artist's Move

Dance and technology have been partners from an early age. In 1892 Loie Fuller recognized the potential in the latest theater lighting technologies that would enable her to creatively explore her dance and dance performance. Like Fuller, as technologies emerged to the world at large, dance artists began to explore the effect such technologies would have on their art. Eventually, explorations of dance and technology focused on how computers contributed to the performance of dance. This chapter will review the history of dance and technology culminating into a discussion of the next evolution of technology in the discipline of dance, the potential computational thinking and Big Data bring to the visualization of the creative process. Particular emphasis will focus on how the work, Synchronous Objects One Flat Thing reproduced, exemplifies the convergence of dance, technology, Big Data and visualization.

Kinetic Dance: performance e jogo do corpo digital

<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">Relato do processo de pesquisa experimental do grupo Kinetic.Lab, do Rio de Janeiro, na área de dança e tecnologia. Descrição técnica e conceitual da montagem da <em>performance </em>“Kinetic Dance”, com algumas referências ao pensamento do filósofo Vilém Flusser e dos teóricos da multimídia, Roy Ascott e Steve Dixon.</p><p class="p3"><span class="s1">Palavras-chave:<span class="Apple-converted-space"> </span></span>Multimídia. Dança. Performance. Videoprojeção.</p><p> </p><p>KINETIC DANCE: PERFORMANCE AND GAME OF A DIGITAL BODY</p><p class="p1"><em>Abstract:</em></p><p class="p2"><em>Report of experimental research by Kinetic.Lab Group, from Rio de Janeiro, Brazil, about dance and technology. Technical and conceptual description of the performance “Kinetic Dance”, with some references about the work of the philosopher Vilém Flusser and the multimedia theorists, Roy Ascott and Steve Dixon.</em></p><p class="p3"><span class="s1"><em>Keywords:<span class="Apple-converted-space"> </span></em></span><em>Multimedia. Dance. Performance. Videoprojection.</em></p>