International Journal of Performance Arts and Digital Media最新文献_第10页

‘Not there’: ‘dark matter’ in Samuel Beckett’s Footfalls “不在那里”:塞缪尔·贝克特《脚印》中的“暗物质”

International Journal of Performance Arts and Digital Media Pub Date : 2021-04-02 DOI: 10.1080/14794713.2021.1874162

James Little

引用次数: 0

Representations of everyday life in İnci Eviner’s We, Elsewhere: comedy, use and free will 伊恩西·埃维纳的《我们，在其他地方》中对日常生活的再现：喜剧、使用和自由意志

International Journal of Performance Arts and Digital Media Pub Date : 2021-03-15 DOI: 10.1080/14794713.2021.1905264

Ezgi Tuncer, B. Diken

{"title":"Representations of everyday life in İnci Eviner’s We, Elsewhere: comedy, use and free will","authors":"Ezgi Tuncer, B. Diken","doi":"10.1080/14794713.2021.1905264","DOIUrl":"https://doi.org/10.1080/14794713.2021.1905264","url":null,"abstract":"ABSTRACT İnci Eviner's installation We, Elsewhere for the Turkey Pavilion at the 58th Venice Art Biennial offers a spectacle of the incomplete, in which the objects, videos and their characters, and sounds in the piece, along with the exhibition space itself, consist all of halves, missing something. It is designed as a non-place in the midst of nowhere, which appears as a liminal space of exception, in which the inside and outside become indistinct. In this respect, the role of the large ramp, which transgresses the public-private divide, is particularly remarkable for it both connects and disconnects the place in relation to the outside, incarnating a paradoxical form of inclusionary exclusion. One cannot avoid noticing the ramp on entering the pavilion: cut horizontally and vertically, the spaces between left void, it is a cross-sectional space experienced through its corridors, area closed off by metal bars, a semi-closed room and viewing area arranged on stairs. However, its interior is rendered visible through the cross-sections of buildings and the subterranean. We bear witness to the events inside it, and, ceasing to be spectators, participate in the installation. Through this displacement, we also move from a representational space to a lived space.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"387 - 404"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1905264","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41588830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Between Us 我们之间

International Journal of Performance Arts and Digital Media Pub Date : 2021-01-02 DOI: 10.1080/14794713.2021.1875938

D. Kleida

引用次数: 0

Differentiating (an)notation practices: an artist-scholar’s observation 区分记谱实践：一位艺术家学者的观察

International Journal of Performance Arts and Digital Media Pub Date : 2021-01-02 DOI: 10.1080/14794713.2021.1885190

R. Stancliffe

{"title":"Differentiating (an)notation practices: an artist-scholar’s observation","authors":"R. Stancliffe","doi":"10.1080/14794713.2021.1885190","DOIUrl":"https://doi.org/10.1080/14794713.2021.1885190","url":null,"abstract":"ABSTRACT Video annotation is an emergent practice and not (yet) a common method in dance studies or research. Subsequently, there are limited accounts that detail the practice of using annotation in dance but those that are available point to how annotation serves diverse and particular purposes. However, a common understanding of what annotation is does not theoretically cohere. Furthermore, the tendency to use the terms annotation and notation synonymously conflates these practices and risks overlooking the significant contributions of each. In discussing my experience, reflections, and observations of working with four different approaches to annotation I offer an understanding of what it offers in analysing and transmitting ideas about dance from an artist-scholar's perspective. Crucially, drawing from Bernard Stiegler's philosophy of technology, I position annotations as technical memories created in dialogue with existing mnemotechnical forms, or technical objects. Such characterisation illuminates how annotation helps to overcome limitations of documentary forms and highlight information otherwise missing or previously unnoticed. To further emphasise annotation as a method of amplification I compare my experience of annotation and of Labanotation to highlight the similarities and differences between these distinctive methodological tools. While the examples primarily focus on dance the insight developed in this article is valuable for other fields working with time-based media.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"69 - 85"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1885190","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43618095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Somatic Sauce 2020 – annotating Love Therapy and celebration Somatic Sauce 2020——诠释爱的治疗和庆祝

International Journal of Performance Arts and Digital Media Pub Date : 2021-01-02 DOI: 10.1080/14794713.2021.1880724

Amelia Fernanda Uzategui Bonilla

{"title":"Somatic Sauce 2020 – annotating Love Therapy and celebration","authors":"Amelia Fernanda Uzategui Bonilla","doi":"10.1080/14794713.2021.1880724","DOIUrl":"https://doi.org/10.1080/14794713.2021.1880724","url":null,"abstract":"ABSTRACT Using Motion Bank’s web-based annotation and publication tools, dance educator Amelia Uzategui Bonilla engages in remote collaboration with international colleagues in times of Corona. They share a praxis in vernacular dance languages, in this case those with African and Indigenous influences from Latin American. This document details a decolonial dance documentation approach featuring recorded classes and interviews with Alberto Barrios, based in Bogota, Colombia and Carmen Román from Oakland, California. Román dances Festejo, a dance cultivated by Peru’s African descendants. Barrios dances Champeta, a genre developed in the 1980s in Cartagena. Their analysis and discussion gain insights on these complex movement forms and the knowledges they contain. A supplementary webpage includes annotated videos of their online classes and conversations on the basis of these. Practice-specific verbalization identifies a lexicon constructed from imagery related to social, political and natural environments. The combination of audiovisual and written material in this document and its corresponding website demonstrates their approach to teaching dances rooted in Black and Indigenous cultures. It also speaks to the potential of documenting dance collaborations during the COVID-19 Quarantine.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"7 - 18"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1880724","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49598272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Digital dance writing. A teaching tool to support the understanding of Digital Choreography 数字舞蹈写作。支持理解数字编舞的教学工具

International Journal of Performance Arts and Digital Media Pub Date : 2021-01-02 DOI: 10.1080/14794713.2021.1884805

L. G. Monda

引用次数: 1

‘Annotation and choreographic self-awareness’ “诠释与舞蹈自我意识”

International Journal of Performance Arts and Digital Media Pub Date : 2021-01-02 DOI: 10.1080/14794713.2021.1880172

Lucía Piquero-Alvarez

{"title":"‘Annotation and choreographic self-awareness’","authors":"Lucía Piquero-Alvarez","doi":"10.1080/14794713.2021.1880172","DOIUrl":"https://doi.org/10.1080/14794713.2021.1880172","url":null,"abstract":"ABSTRACT Through my doctoral research I developed a form of annotation and analysis of works to explore experiences of emotion in contemporary theatre dance. This approach helped me analyse works by different choreographers and share my spectatorial experience of them. To explore whether the work had emotional information embodied in its perceptual properties, I analysed movement qualities, movement-music, and spatial-rhythm. Through these analysis I was able to understand aspects of my process which were not obvious before. The analysis seemed to improve my choreographic self- awareness. Scholars such as Sarah Whatley have pointed at the potential of documenting, sharing, and curating information about choreographic practices, and its use as feedback tool for the choreographers [Whatley, Sarah. 2018. “Enhancing Choreographic Objects; Traces, Texts and Tales of a Journey Through Dance.” In Performing Process Sharing Dance and Choreographic Practice, edited by Hetty Blades and Emma Meehan, 67–80. Bristol: Intellect]. But what happens when the analyst and the choreographer are the same person? For me, the process became a form of self-discovery. This article is a reflection on the difficulties, implications, and repercussions of undertaking a systematic analysis/annotation of my work, especially in relation to emotion.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"111 - 117"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1880172","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42268373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Entering a dance performance through multimodal annotation: annotating with scores 通过多模式注释进入舞蹈表演：用分数进行注释

International Journal of Performance Arts and Digital Media Pub Date : 2021-01-02 DOI: 10.1080/14794713.2021.1880182

D. Kleida

引用次数: 0

ancestors: an illuminated video 祖先:一个发光的视频

International Journal of Performance Arts and Digital Media Pub Date : 2021-01-02 DOI: 10.1080/14794713.2021.1880140

Ben Spatz, N. E. Erçin, Agnieszka Mendel

引用次数: 0

Tags and tracks and annotations – research video as a new form of publication of embodied knowledge 标签、轨迹和注释——研究视频作为一种新的体现知识的出版形式

International Journal of Performance Arts and Digital Media Pub Date : 2021-01-02 DOI: 10.1080/14794713.2020.1866357

Gunter Lösel

{"title":"Tags and tracks and annotations – research video as a new form of publication of embodied knowledge","authors":"Gunter Lösel","doi":"10.1080/14794713.2020.1866357","DOIUrl":"https://doi.org/10.1080/14794713.2020.1866357","url":null,"abstract":"ABSTRACT The last 20 years have seen numerous claims and suggestions to overcome purely text-based research. In this article I will describe the RESEARCH VIDEO project, that dedicated itself to the exploration of annotated videos as a new form of publication in artistic research. (1) Software development: One part of our team developed a software tool that was optimized for artistic research and allows for a publication as an annotated video. I will describe the features of the software and explain the design decisions that were made throughout the project. I will also point out future demands for this tool. (2) Research standards: Our team continually reflected on the questions of how to meet both academic and artistic needs, trying to shape the research process accordingly. We decided to minimize academic claims to two basic claims – “sharability” and “challengeability” and explored how the research process changes, when these claims are informing each step of the research process. Finally I will discuss suggestions to make a publication as a Research Video comparable to a research paper.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"31 - 45"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2020.1866357","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46646116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1