Academic literature on the topic 'Performance art Place (Philosophy) in art'
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Journal articles on the topic "Performance art Place (Philosophy) in art"
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JANG, JUNHYOK. "2022 Amendment of the Law of International Jurisdiction in Patrimonial Matters." Korea Association of the Law of Civil Procedure 26, no. 3 (October 31, 2022): 103–232. http://dx.doi.org/10.30639/cp.2022.10.26.3.103.
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In creating the new rules on international jurisdiction created in 2022, the drafters put an emphasis and focus on patrimonial matters. This led to an effort to provide for detailed and sophisticated rules as far as practicable. The legislative model was found in the 1999 Hague Preliminary Draft and the 2005 Hague Choice of Court Convention. So the new rules follow the continental European style of legislation. Concise provisions without detailed clarification were preferred.
Naturally, the drafters sought to strictly limit each basis of jurisdiction, so as to stay away from exorbitant jurisdiction. Particularly notable is the broad limitation imposed on the place-of-performance jurisdiction for contract cases (Art. 41). A strict limitation was also introduced on the jurisdiction over related claims when they are filed against different defendants (Art. 6(2)).
However, legislative clarification was not made throughout the amendment. In some places, the drafters minimized the breadth of legislative resolution and chose to defer difficult issues to interpretation. The prime example would be the criteria for establishing a habitual residence. Further limitation to tort jurisdiction at the place of harm, other than the condition of predictability, is also left to the academia and the courts. Establishing the rules of jurisdiction for internal matters of a trust was wholly left as a future task. Notwithstanding this legislative vacuum, the settlor should be allowed make a unilateral choice of forum, although this will be a point of debate.
In some heads of jurisdiction, the drafters chose to expand the available grounds of jurisdiction, rather than trying to limit them. Justification was found in the realistic considerations and being an autonomous legislation. In this connection, particular attention was paid to the rules of internal jurisdiction provided in the Civil Procedure Act and the rules of international jurisdiction provided in the Japanese Civil Procedure Act as amended in 2011. Special jurisdiction at the place of “continuous and systematic activity” was newly introduced (Art. 4, para. 2); jurisdiction over related claims between the same parties was also preserved (Art. 6, para. 1); the bases of jurisdiction over counterclaims were even expanded, so that a connection with the defense will generally suffice (Art. 7); forum patrimonii as restricted by the “substantial connection” test was also preserved, taking into account the convenience of enforcement (Art. 5 ii); the place-of-performance jurisdiction was broadly preserved in the case characteristic performance is clearly defined (Art. 41, para. 1); contract jurisdiction is to be upheld without limitation at the place of performance (Art. 41, para. 2); no particular limitation is imposed on the contractual agreement over the place of delivery (Art. 41, para. 2), leaving open the possibility of allowing a fictitious agreement to some degree. The new law also sought to provide for sufficiently wide-ranging set of jurisdictional bases for special jurisdiction for contracts in intellectual property (Art. 38) and that for infringement of intellectual property (Art. 39).
Forum patrimonii as limited by the substantial connect test (Art. 5 ii) and the forum non conveniens provision (Art. 12) deserve special attention, in that they leave a large room of discretion to judges. The two provisions has a potential to function positively by introducing flexibility. Meanwhile, they may end up hindering the interpretive development of sophisticated standards and greater uncertainty.
Forum patrimonii, even functioning under the constraint of the “substantial connection” test, should only remain a final resort and play its proper function. An excessive use of this basis will cause stagnation of the further development of the Korean law of international jurisdiction, and will practically cause difficulty in having Korean judgments recognized and enforced abroad
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Nofansyah and Redyanto Noor. "Analysis of The Concept and Attraction and The Development od Tge "Langen Mandra Wanara" Art from Yogyakarta." E3S Web of Conferences 317 (2021): 01007. http://dx.doi.org/10.1051/e3sconf/202131701007.
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Langen Mandra Wanara is a Javanese dance-drama genre that tells Ramayana story taking place in the Kepatihan complex. It has become a very popular performing art and has been widely studied by the people of Yogyakarta. This study aimed to discuss the concept, attractiveness and development of the "Langen Mandra Wanara" art. The study used a descriptive analysis method. In this research, the data was the art of Langen Mandra Wanara from Yogyakarta, which was obtained from various secondary sources, including previous research journals, internet sites, books and documentation. The results showed that Langen Mandra Wanara has a basic concept called the Joged Mataram philosophy in dancing. At the beginning of its development, the art performance was marked by the appearance of a large number of wanara (monkey) dancers. Unlike other arts, Langen Mandra Wanara basically aims to provide entertainment to the public for free. In its development, Langen Mandra Wanara's performance declined due to the influence of the Dutch colonial economic situation. Currently, Langen Mandra Wanara shows tend to be concise, performed much shorter, and involve fewer players. Thus, the production cost of court performing arts can be reduced much cheaper than before.
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Parry-Davies, Ella, and Eliesh S.D. "Siting Performance Philosophy: Positions, Encounters and Reflections at Beirut: Bodies in Public." Performance Philosophy 1, no. 1 (April 10, 2015): 255. http://dx.doi.org/10.21476/pp.2015.1116.
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Beirut: Bodies in Public was a three-day workshop that took place in Beirut, Lebanon from 9-11 October 2014, supported by a Performance Philosophy grant for interim conference events. The workshop integrated academic research with performances, movement workshops, film, and site-specific responses to the city, and welcomed disciplinary perspectives from a broad range of fields. In this article, the convenors Ella Parry-Davies and Eliesh S.D. reflect on the central issues and encounters foregrounded by the event, and the disciplinary or methodological implications of the project for performance philosophy. Taking as its central provocation the controversial statement: “Art in public spaces doesn’t exist anymore”, the workshop sought to address the role of embodied practice in Beirut’s precarious public sites. Insofar as philosophy can be ‘performed’, it is grounded in the particularities of its social space, an utterance shaped by its historical and geopolitical locality. As a practice of performance philosophy, then, Beirut: Bodies in Public triangulated these two forms-of-knowing with a third: the interrogation presented by the site itself - its potentialities, contingencies and challenges.
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Feinstein, Sandy. "The “Living Art” in The Honorable History of Friar Bacon and Friar Bungay." Ben Jonson Journal 23, no. 2 (November 2016): 268–89. http://dx.doi.org/10.3366/bjj.2016.0168.
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The popularity and fantastic productions of natural philosophy drive the The Honorable History of Friar Bacon and Friar Bungay. Those creating and responding to the special effects compete across boundaries of place, of cultures, and of courts. In the end, Friar Bacon's demonstrates his dominance and in so doing defines nationalist exceptionality while showcasing theatre as the ultimate alchemy displaying it. The play celebrates English performance, stage art that out-alchemies alchemy. Theatre, the play suggests, best celebrates and protects English interests. It can take on anyone and anything, including in this play, science, magic, myths, history, Oxford, kings, and emperors. The competitive contests, for that is what they become in the play, include verbal sparring and quibbles that trade on the conventional metaphors of alchemy or the “Art,” as it is often referred to in the play. The dialogic war of words is additionally supported by extravagant spectacles signifying individual skill in the Art while also confronting its limitations.
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Hancox, Donna, Sandra Gattenhof, Sasha Mackay, and Helen Klaebe. "Pivots, arts practice and potentialities: Creative engagement, community well-being and arts-led research during COVID-19 in Australia." Journal of Applied Arts & Health 13, no. 1 (March 1, 2022): 61–75. http://dx.doi.org/10.1386/jaah_00088_1.
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Pre-dating COVID-19 it was widely acknowledged that there was a loneliness epidemic and that prolonged loneliness and reduced human touch results in increased propensity to heart disease, stroke and clinical dementia. Given such statistics, and the use of isolation and shielding as a health response to the COVID-19 pandemic, it is imperative that creative projects or research investigations embed strategies to address the potential fragmentation of community and increased difficulty of social connection. This discussion examines two Australian art-based projects ‐ ‘A Place in Our Art’ and ‘Shorewell Presents … Dear Friend’ ‐ to illustrate the use of arts and cultural activities to maintain and support social connection. The article draws on arts-health and performance theory to unpack project design and outcomes of using both physical and virtual creative art-based engagement strategies in a crisis to entice continued participation and support well-being.
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Pagliai, Valentina. "Lands i came to sing." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 10, no. 1 (March 1, 2000): 125–46. http://dx.doi.org/10.1075/prag.10.1.07pag.
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This article on a genre of Tuscan Italian verbal art, the Contrasta, uses performance as a key to look at the connections between ethnic identity and place. The Contrasta takes its name, “contrast”, from its humorous representation of a verbal duel among entities, people or ideas. Structurally, it is formed by a series of chained Octets, in hendecasyllables. After an initial discussion of the current definitions of ethnic identity, the article is articulated in two parts. First, through the analysis of the “openings” of several Contrasti, 1 will show how a “repertoire” of ethnic identities becomes evident in the way the artists choose to represent themselves across contexts. These identities are connected to place. They are instead connected to towns, villages, valleys and mountains, monuments and historical events and legends. Tuscan ethnic identities emerge in the dialogue between the poets and their public. In the second part of the article, the in depth analysis of a Contrasta furnishes a key to understand how performance names and defines, but also contests, definitions of places and the associated identities. Performance brings to view the layers of complexity of ethnic identity, warning us against fixing and simplifying descriptions of it.
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LAVRENOVA, OLGA A. "CINEMA SPACES: AN IMAGINATIVE WORLD OF THE CULTURAL LANDSCAPE. REVIEW OF THE 6TH INTERNATIONAL SCIENTIFIC CONFERENCE “GEOGRAPHY OF ART”." Art and Science of Television 16, no. 3 (2020): 159–76. http://dx.doi.org/10.30628/1994-9529-2020-16.3-159-176.
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The international scientific conference “Geography of Art” is devoted to the development of a wide problematic field of interaction between art and geographic space. It traditionally considers not only spacing of artifacts and monuments over the earth’s surface, but also specific features related to the reflection of geographical space in art and creation of fantasy worlds in which the dependence on consistent patterns of the real world formation can easily be traced. The conference has been held since 2009; it was initiated by the geographer Yu.A. Vedenin and carried forward by the philosopher and culture specialist O.A. Lavrenova. In recent years, organizers of this representative forum are the Institute of Scientific Information for Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, Film and Television School (GITR), the Russian State University for the Humanities. In 2020, for the first time the conference was held online. As always, there was discussed the role of territorial factors in formation of art schools and individual works, as well as a creative perception of the cultural landscape, the place of art in the formation of the territory image. An important topic was a concept of space in art works, the possibilities of comprehending, transforming, “reformatting” the space by different art types including screen art, creating in this way the “increment of meaning” of places and regions. Within the framework of this conference there were discussed НАУКА ТЕЛЕВИДЕНИЯ № 16.3, 2020 162 THE ART AND SCIENCE OF TELEVISION historical and cultural features of the national and world cinema, which capture real spaces and create their own modifications. Participants touched upon the topic of traveling in the cinema, virtual representations of cultural landscapes using digital narratives and, accordingly, the possibilities and specific features of the virtual travel. The issue of studying urban spaces by means of cinema was considered in a wide semantic variety—from buffoonery to marginality. A city appears as a universal scenery for a performance while real street loci with their inhabitants become heroes of modern visual media. A separate topic was the discussion of constructed spaces of Korean TV series and their adaptation in Russian culture as a tangible result of the process of intercultural communication. All the above mentioned studies represented by conference participants actually complement each other in terms of understanding the figurative component of the cultural landscape.
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Chaves, Rui, and Pedro Rebelo. "Evocative Listening: Mediated practices in everyday life." Organised Sound 17, no. 3 (January 11, 2012): 216–22. http://dx.doi.org/10.1017/s1355771811000410.
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The history of sonic arts is charged with transgressive practices that seek to expose the social, aural and cultural thresholds across various listening experiences, posing new questions in terms of the dialogue between listener and place. Recent work in sonic art exposes the need for an experiential understanding of listening that foregrounds the use of new personal technologies, environmental philosophy and the subject–object relationship. This paper aims to create a vocabulary that better contextualises recent installations and performances produced within the context of everyday life, by researchers and artists at the Sonic Arts Research Centre at Queen's University Belfast.
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Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.
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Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particular, engaging the conception of values for settlement of a question why performing art products are different with their significance: something becomes a culture phenomenon but something stays at self-actualization level. Methods. For comprehensive study the performing as separate kind of activity it is necessary to involve adjacent humanitaristics areas – psychology and philosophy, which problems of art and it’s osmosis are considered in. In particular, in philosophy art is understood as a kind of human activity aimed at creating new-look material and culture valuables. However, in our perspective more interesting and capacious definition is seem N. Berdyaev’s one: «Art is a human ability to create a new reality from valid material». That picturesque vision of the author’s work, which springs up during an interpretation, often has a wide public interest that let assign to interpretator a status of the creator. Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Sukhlenko). Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Suchlenko). Results. E. Husserl’s phenomenological conception had a great impact not only on XX th century philosophy but on many humanities science especially art history. It led to the fact that there are many definitions of phenomenon concept, which is interpreted as a reflection of world of ideas, an object that is accessible to the senses, a basic holistic unit of what can be isolated from consciousness, external properties and subject concern revealing its essence, etc. A unite part all of definitions is a sensorial perception as a base of human knowledge based on individual experience and ability of consciousness to self observation and reflection. Stickling example of this is a field of artistry, which individual sensorial perception takes such a big part in that identity of the creator, his feelings often become the centerpiece of work. In musical oeuvre, an outward subjectivization is an acoustic convergent thinking. However, musical thesaurus is enough for power of imagining wakening enabling reproducing and combination the phenomenal stored in composer-performer-hearer’s memory. Performing art based on searching the new acoustic and dramatic source material characteristics. Thereat performer’s work algorithm depends largely on personal intention based on world and mental outlook. The scale of performer identity, his internal conviction power whereby he creates the new acoustic reality is able to notably change all the elements of composer’s intention and affect our perception of musical composition. In that understanding, the special aspects of composer’s activities, its interconnection and correlation with his oeuvre are opened in other view. Brilliant performance reformatting an art space composer’s work frequently appropriates him «double authorship». As a result is a phenomenon of identification with the name of great composer: L. Beethoven’s 5th Symphony – G. Von Karajan / L. Stokowski; J. S. Bach’s Goldberg Variations – G. Gould / R. Tureck; F. Сhopin’s works – V. Sofronitsky / V. Horowitz; P. Tchaikovsky – M. Pletnev. Exactly this influence aspect of performing art on the musical culture interested B. Croce who confirmed that musical composition only exists at the time of execution. However, choice the pair «composer-performer» depends up our perception, our readiness to acceptance an alternative artistic concept. Herewith prescription, forming «set» of value orientation of some shared identity: from group of like-minded persons to mass convictions, has a great impact here. The latter’s impact differs under studying a creativity of famous musicians and soi-disant «second place» musicians who fall under external influence easier than others do. Even in the light of constant changes of public conscience, one can highlight some hard values in it that characterize certain social stratums. However, and these value systems undergo a review for a time and modern society reject what was topically a couple decades ago. The result is that fashion phenomenon on performers or performing style appears. Accordingly, to continue to be relevant performing musician needs to have a gust of latest tendencies in art and to able to save value bases of personal mental outlook. Conclusions. The phenomenological approach to the study of the creative activity of a musician-performer allows one to go beyond the theoretic analysis that is traditional for musicology. Acceptance that the product of performing creativity can be defined as a phenomenon, reflecting several vectors of personal communication (dialogue with oneself, with a composer, public, historical epoch), can help not only in understanding the “musical work of the performer”, but also in understanding the phenomenal significance of performers in modern musical culture.
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Böhler, Arno. "Untimely Meditation: Nietzsche et cetera." Performance Philosophy 3, no. 3 (December 21, 2017): 631. http://dx.doi.org/10.21476/pp.2017.33178.
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The following lecture performance was a part of the research festival Philosophy On Stage#4 at Tanzquartier Wien, where new relations between philosophy and the arts were tested and put into practice. The lecture starts with the claim that philosophical thinking necessarily performs the temporality of the untimely as a mode of being-in-time, which realises a revolt of time against its times in favour of a time to come. Being neither part of the past nor of eternity, the temporality of the untimely calls future events into being.Insofar as philosophy shares the temporality of the untimely with the arts, the lecture-performance defines arts-based philosophy––the alliance of art and philosophy, by which philosophy has started to implement artistic practices into philosophy––as a field for the appearance of the untimely. As Jacques Derrida has shown in Politics of Friendship, the proposition “Alas! if only you knew how soon, how very soon, things will be – different! –”, characterises precisely the aporetic principle of a democracy of the future, grounded in the temporality of the untimely. The genitive ‘of’ thereby indicates a mode of democracy which does only exist as long as it keeps itself open towards its own changeability and eventfulness. Therefore it necessarily takes place as the prelude of a future one is able to affirm full heartedly in advance, that is to say, over and over again. A mode of being-in-time that touches the secret of Nietzsche’s most abysmal thought: the thought of the eternal return of the same, in which somebody has realized the never ending eternity loops of be-coming; a life of immanence; a recurring movement of eternity within itself.
Dissertations / Theses on the topic "Performance art Place (Philosophy) in art"
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Taylor, Gretel. "Locating place and the moving body /." full-text, 2008. http://eprints.vu.edu.au/2050/1/Gretel_Taylor.pdf.
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This research project physically and theoretically investigates a relationship between body and place, via site-specific performance-making processes in diverse Australian sites. It encompasses the creation of two live performances and a video installation, the development of which are documented and elucidated in a written exegesis. The exegesis and associated performance processes explore the proposition that movement/ dance—as a spatial practice—can be a mode of locating, or an attempt to locate. ‘Locating’ implies an endless process that is always heading towards location, place, total presence—but may never arrive. Using practice-based, embodied research as its methodology, environmental information from the specific site is gathered via sensory perception tasks, some derived from Body Weather (a movement philosophy developed by Japanese dancer Min Tanaka), generating an improvisational exchange of perception and response. This ‘locating dance’ is the relationship between body and the place: it is simultaneously the seeking of relationship and the expression, enactment or illustration of it. In seeking location in relation to Australian sites from the perspective of a body that is white, the research also interrogates white Australian identity in relationship to this country, with the knowledge of the genocide and dispossession that its history entails. The work of theorists of place and space, as well as local historical and ecological sources, provide the framework for this series of excavations. Via traveling in Europe and to Aboriginal Land in the Northern Territory, insights develop into the cultural and corporeal residue of colonisation. Thus, the specific geographical site of each of the performance works acts also as a microcosm for, or reference point to, the broader site of contemporary Australia and the non-Aboriginal postcolonial experience of place. Representation of the body in performance is constructed in various ways to acknowledge the implications of its whiteness. The locating dances and performance works that comprise Locating: Place and the Moving Body engage in a multi-sensory listening to the country that aspires towards (white Australian) location—that elusive and longed-for ‘belonging’ or true ‘settlement’—yet they do not purport to have found, or even anticipate finding, an endpoint to this dance.
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Taylor, Gretel. "Locating: Place and the Moving Body." Thesis, full-text, 2008. https://vuir.vu.edu.au/2050/.
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This research project physically and theoretically investigates a relationship between body and place, via site-specific performance-making processes in diverse Australian sites. It encompasses the creation of two live performances and a video installation, the development of which are documented and elucidated in a written exegesis.
The exegesis and associated performance processes explore the proposition that movement/ dance—as a spatial practice—can be a mode of locating, or an attempt to locate. ‘Locating’ implies an endless process that is always heading towards location, place, total presence—but may never arrive. Using practice-based, embodied research as its methodology, environmental information from the specific site is gathered via sensory perception tasks, some derived from Body Weather (a movement philosophy developed by Japanese dancer Min Tanaka), generating an improvisational exchange of perception and response. This ‘locating dance’ is the relationship between body and the place: it is simultaneously the seeking of relationship and the expression, enactment or illustration of it.
In seeking location in relation to Australian sites from the perspective of a body that is white, the research also interrogates white Australian identity in relationship to this country, with the knowledge of the genocide and dispossession that its history entails. The work of theorists of place and space, as well as local historical and ecological sources, provide the framework for this series of excavations. Via traveling in Europe and to Aboriginal Land in the Northern Territory, insights develop into the cultural and corporeal residue of colonisation. Thus, the specific geographical site of each of the performance works acts also as a microcosm for, or reference point to, the broader site of contemporary Australia and the non-Aboriginal postcolonial experience of place. Representation of the body in performance is constructed in various ways to acknowledge the implications of its whiteness. The locating dances and performance works that comprise Locating: Place and the Moving Body engage in a multi-sensory listening to the country that aspires towards (white Australian) location—that elusive and longed-for ‘belonging’ or true ‘settlement’—yet they do not purport to have found, or even anticipate finding, an endpoint to this dance.
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Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
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Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art." Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.
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This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to the virtual. I combine original research on public poetries such as the poetry slam, the poetry-music ensemble, and video-poetry and synthesize a variety of critical approaches, including cultural studies, postcolonial theory, and ethnomusicology. I analyze specific elements of the performance--the voice, music, the body on stage, and the dialogic relationship betwee performer and audience--and discuss how these poets use the poetry event to articulate a poetry-community-in-the-making. Throughout this study, I argue that these poetry events demand our active engagement with the performance and use emergent technologies to document and analyze this poetry community. As such, "Performance" ultimately demands that we not only rethink the relationship between these poets and their communities, but that we rethink the place of poetry in contemporary American culture.
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Bresnahan, Aili. "Dance As Art: A Studio-Based Account." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173544.
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PhilosophyPh.D.
This dissertation is an attempt to articulate the conviction, born of ten years of intensive experience in learning and practicing to be a dance performer, that the dance performer, through collaboration with the choreographer, makes an important contribution to how we can and do understand artistic dance performance. Further, this contribution involves on-the-fly-thinking-while-doing in which the movement of the dancer's body is run through by consciousness. Some of this activity of "consciousness" in movement may not be part of the deliberative mentality of which the agent is aware; it may instead be something that is part of our body's natural and acquired plan for how to move in the world that is shaped by years of artistic and cultural training and practice. The result is a qualitative and visceral performance that can, although need not, be a representation of some deliberative thought or intention that a dancer can articulate beforehand. It is also the sort of thinking movement that in many cases can be conceived as expression; an utterance of dance artists that is not limited to the communication of emotion that can be appreciated and understood, at least in principle, by a public or audience. What this means for the Philosophy of Dance as Art includes the following: 1) there may not always be a stable, fixed "work" of dance art that can be identified, going forward, as the only relevant work on which critical and philosophical attention should be focused because of variable, contingent and irreducibly individual features of live dance performances, attributable in large part to the efforts, style and improvisation of particular dance performers; 2) the experience of dance artists is relevant to understand dance as art because experiential evidence of practice can supplement and ground the appreciable properties that we can detect in artistic dance performances; 3) artistic dance performance can be conceived as expression without being expressive of either an artist's felt emotion or of human emotion in general - no particular content is needed as long as there is a content; 4) artistic dance performance conceived as expression can, but need not, function as representation in both the strong (imitative) and weak (referential) sense; and 5) artistic dance performance is real, not illusory and not necessarily either a transformation or transfiguration of the real. Dance as art, like theatre, like music and even, perhaps, like painting, sculpture and architecture, although in less clearly artist-present, extemporaneous and embodied ways, is human-constructed, human-understood, human-driven and a full, rich, interactive and meaningful part of human life.
Temple University--Theses
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Gray, Sarah Willard. "Abstracting from the landscape a sense of place /." Access electronically, 2008. http://ro.uow.edu.au/theses/147.
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Braddock, Christopher. "The artist will be present performing partial objects and subjects : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD), 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/441.
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New, Joachim H. L. "Architecture in mind : Hegel's history of architecture and its place in the Philosophy of Fine Art." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413736.
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Norman, David Winfield. "Do you think it's over? : performance and the "third place" of Greenland's art history." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58917.
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During a performance piece in August 2015, Greenlandic performance artist Jessie Kleemann carried out an homage to a past artwork by Greenlandic-Danish artist Pia Arke: an ephemeral installation composed of used coffee grounds that Arke herself destroyed upon conclusion of the exhibition that had included it. In order to elucidate the relationship established in Kleemann’s work, this thesis will undertake a close analysis of individual artworks by the two artists. The existing literature has portrayed these artists as lone figures, divorced from the mainstream of Greenlandic art, and they have rarely been compared to other Greenlandic artists, yet I argue they share a common method: a performance of history. This thesis will examine the durational and resonant aspects of both works, and through them argue that performance stages a responsive encounter between subject and object, and between historical references and the present. This thesis will highlight how performance has played a much larger role in reevaluating cultural discourses in Greenland than the existing literature suggests. Kleemann and Arke approach history through the durational aspect of temporality. I argue that in their oeuvres, the work of history occurs as a durational process of both presentation and re-presentation, where both the past and the present play active roles in forming historical knowledge.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Humphreys, Brianne Alta. "Humans Aren't Boxes, Art Isn't Finite." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5894.
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I am bored. All around me are systems that perpetuate repetitive, reductive, and mundane modes of living. In an attempt to counter a culture obsessed with singular ways of existence and bite-sized perfection, I utilize moving mediums of video and performance to dive head first into a vast array of sloppy sincerity. The crisp, white-washed, analytical, and restrictive is loudly replaced with the empirical, haphazard, and instinctual. My intention is to create and encourage raw, performative-based work that is as multifaceted as unbridled life itself. This alive and physical practice hosts a conglomeration of sweat, memories, heartbreaks, hymn singing, line dancing, cake eating, wig wearing, bedroom jamming, live streaming, code switching, hallway running, body dragging, easter egg hiding, angst, and hair salons.
This is a refusal to slice up, organize, and distill myself and my work into one dish with convoluted, explanatory rhetoric stamped with institutionalized approval and topped with the cherry of MFA status for the sake of being justified and relevant. I have zero obligations to make polished art, resolve things, or pinpoint what makes me “me”, because humans are not boxes and art does not have to be finite.
Books on the topic "Performance art Place (Philosophy) in art"
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Tammy, Mercure, ed. Place, art, and self. Santa Fe, N.M: Center for American Places in association with Columbia College, Chicago, 2004.
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Gallery, Turnpike, ed. Place: Selected writings 1998. Leigh: Turnpike Gallery, 1998.
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Prinz, Jessica. Art discourse/discourse in art. New Brunswick, N.J: Rutgers University Press, 1991.
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Philip, Peters, and Haags Centrum voor Aktuele Kunst., eds. The ideal place. London: Academy Editions, 1995.
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Thinking in place: Art, action, and cultural production. Boulder: Paradigm Publishers, 2008.
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Benschop, Jurriaan. De berg van Cézanne: Kijken naar kunst. Amsterdam: Athenaeum-Polak & Van Gennep, 2006.
Find full textBook chapters on the topic "Performance art Place (Philosophy) in art"
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Mersch, Dieter. "Performance Art and Improvisation." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 515–29. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-41.
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Rokem, Freddie. "‘Bodies of Knowledge’: Conceptualizing the Art of Acting." In Encounters in Performance Philosophy, 105–20. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137462725_6.
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Keidan, Lois. "This Must be the Place: Thoughts on Place, Placelessness and Live Art since the 1980s." In Performance and Place, 8–16. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230597723_1.
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Auret, Hendrik. "Christian Norberg-Schulz and the art of place." In Christian Norberg-Schulz’s Interpretation of Heidegger’s Philosophy, 23–103. New York : Routledge, 2019. | Series: Routledge research in architecture: Routledge, 2018. http://dx.doi.org/10.4324/9781351232791-2.
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Quent, Marcus. "Thinking — Mimesis — Pre-Imitation: Notes on Art, Philosophy, and Theatre in Adorno’s Aesthetic Theory." In Adorno and Performance, 130–42. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137429889_9.
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Roms, Heike, and Rebecca Edwards. "Oral History as Site-Specific Practice: Locating the History of Performance Art in Wales." In Place, Writing, and Voice in Oral History, 171–91. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339774_9.
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Jevnaker, Birgit Helene, and Johan Olaisen. "Understanding Practices Through an Inclusive Philosophy of Experiencing: Insights from Four Art Museums." In Reimagining Sustainable Organization, 93–109. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96210-4_5.
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AbstractThe chapter discusses the inclusive knowledge philosophy fundamental for different modes of experiencing living enterprises. We combine two related philosophical lenses to enable fundamental understanding of concerted practices and strategic accomplishments for leadership and management. The American pragmatist philosopher John Dewey pointed to the importance of restoring the continuity between the refined and intensified experiences in our practices and everyday doings. He based this restoring on “the inclusive philosophic idea”. By this idea he was acknowledging the possibilities of imagination and associations among the social, technological-physical, natural, and mental modes. Another philosopher, the Norwegian Arne Naess, also highlighted imaginative experience and the human/nature interconnectedness including its potential joy and perseverance for individuals as well as organizations. We provide examples drawing on our own studies of four art museums. Given that rich knowledge endeavours are necessary to develop arts for society, how can valuable exhibition practices be accomplished in inclusive, resourceful ways? The chapter introduces a philosophical framework for how this might work. Dynamic art, design, and innovation processes are imaginative practices where the past, the present, and the future melt together. The imaginative experiencing in each museum place might be crucial not only for its recurrent co-creation but also for the make-believe of sustainable arts thinking.
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Oevermann, Heike, Ayse Erek, Carola Hein, Conor Horan, Kata Krasznahorkai, Ida Sofie Gøtzsche Lange, Edmond Manahasa, et al. "Heritage Requires Citizens’ Knowledge: The COST Place-Making Action and Responsible Research." In Studies in History and Philosophy of Science, 233–55. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91597-1_12.
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AbstractThis chapter reflects on responsible science with an eye toward concrete research practice. To this end, we briefly introduce the RRI paradigm (Responsible Research and Innovation) and then highlight seven EU research projects in the context of a transnational COST Action project. This COST Action will investigate how placemaking activities, like public art, civil urban design, and local knowledge production, reshape and reinvent public space, and improve citizens’ involvement in urban planning and urban design, especially in the context of heritage sites. The chapter introduces heritage case studies that either contrast, differentiate, and add to existing knowledge and practices in placemaking through specific initiatives, or enable the establishment of common ground within a wider constellation of societal actors and both, as we see, contribute in different ways to responsible research. We analyze how the four criteria of RRI, namely anticipation, reflexivity, inclusion, and responsiveness are considered and implemented, and the extent to which digital tools are supportive. Obviously, coproduction of knowledge is not sufficient when we call for responsible science in the narrow sense, hence the development of common ground also appears necessary.
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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.
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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Lütticken, Sven. "From Re- to Pre- and Back Again." In Cultural Inquiry, 1–16. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_02.
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Tracing the complex history of the term ‘reenactment’, back to R.G. Collingwood’s philosophy of history, on the one hand, and popular practices of war reenactments and living history museums, on the other, a survey of its current contribution in art and museum practices highlights the importance of historicity — a category the postmodern was supposed to have vacated — in a wide range of examples, from Rod Dickinson and Jeremey Deller to Alexandra Pirici, Manuel Pelmuş, and Milo Rau. Performance reenactments, in particular, are premised on performance art having become historical, but also threaten to digest history in favour of a mere productivist mobilization for the needs of current attention economies. An alternative could be the attempt to counter historical with dramatic time in order to unlock unrealized possibilities and futures, as the term preenactment promises.
Conference papers on the topic "Performance art Place (Philosophy) in art"
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Zheqian, D. Liu. "The Visual Performance of Technology and Philosophy in "Contemporary Art"." In BIC 2021: 2021 International Conference on Bioinformatics and Intelligent Computing. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3448748.3448805.
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Landgrebe, Dirk, Roland Müller, Rico Haase, Peter Scholz, Matthias Riemer, Andre Albert, Raik Grützner, and Frank Schieck. "Efficient Manufacturing Methods for Hybrid Metal-Polymer Components." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-65621.
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Lightweight design for automotive applications gains more and more importance for future products, independent from the powertrain concept. One of the key issues in lightweight design is to utilize the right material for the right application using the right value at the right place. This results irrevocably in a multi-material design. In order to increase the efficiency in manufacturing car components, the number of single parts in a component is decreased by increasing the complexity. Examples for the state of the art are tailored welded blanks in cold forming, tailored tempering in press hardening or metallic inlays in injection molding of polymers. The challenge for future production scenarios of multi-material components is to combine existing technologies for metal- and polymer-based applications in efficient hybrid process chains. This paper shows initial approaches of hybrid process chains for efficient manufacturing of hybrid metal-polymer components. These concepts are feasible for flat as well as for tubular applications. Beside the creation of the final geometric properties of the component by a forming process, integrated joining operations are increasingly required for the efficiency of the production process and the performance characteristics of the final component. Main target of this production philosophy is to create 100% ready-to-install components. This is shown in three examples for hybrid process combinations. The first example deals with the combination of metal forming and injection molding of polymers. Example number two is the application of hybrid metal-polymer blanks. Finally, example number three shows the advantages of process integrated forming and joining of single basic components.
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Lou, Fangyuan, and Nicole L. Key. "On Choosing the Optimal Impeller Exit Velocity Triangles in Preliminary Design." In ASME Turbo Expo 2021: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/gt2021-59210.
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Abstract Impeller discharge flow plays an important role in centrifugal compressor performance and operability for two reasons. First, it determines the work factor and relative diffusion for the impeller. Second, it sets the flow into the downstream stationary diffusion system. The choice made in the preliminary design phase for the impeller exit velocity triangle is crucial for a successful design. The state-of-the-art design approach for determining the impeller exit velocity triangle in the preliminary design phase relies on several empirical guidelines, i.e. maximum work factor and diffusion ratio for an impeller, the optimal range of absolute flow angle, etc. However, as modern compressors continue pushing toward higher efficiency and higher work factor, this design approach falls short in providing exact guidance for choosing an optimal impeller exit velocity triangles due to its empirical nature as well as the competing mechanism of the two trends. In light of this challenge, this paper introduces a reduced-dimension, deterministic approach for the design of the impeller exit velocity triangle. The method gauges the design of the impeller exit velocity triangle from a different design philosophy using a relative diffusion effectiveness parameter and is validated using 6 impeller designs, representative of applications in both turbochargers and aero engines. Furthermore, with the deterministic method in place, optimal impeller exit velocity triangles are explored over a broad design space, and a one-to-one mapping from a selection of impeller total-to-total pressure ratios and backsweep angles to a unique optimal impeller exit velocity triangle is provided. This new approach is demonstrated, and discussions regarding the influences of impeller total-to-total pressure ratio, isentropic efficiency, and backsweep angle on the optimal impeller exit velocity triangle are presented.
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Deo, Hrishikesh V., Ajay Rao, and Hemant Gedam. "Compliant Plate Seals: Design and Performance Simulations." In ASME Turbo Expo 2012: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/gt2012-69348.
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Compliant Plate Seals are being developed for various turbomachinery sealing applications including gas turbines, steam turbines, aircraft engines and oil & gas compressors. These seals consist of compliant plates attached to a stator in a circumferential fashion around a rotor. The compliant plates have a slot that extends radially inwards from the seal outer diameter, and an intermediate plate extends inwards into this slot from stator. This design is capable of providing passive hydrostatic feedback forces acting on the compliant plates that balance at a small tip–clearance. Due to this self–correcting behavior, this seal is capable of providing high differential pressure capability and low leakage within a limited axial span, and non–contact operation even in the presence of large rotor transients. CFD models have been developed to predict the leakage flow rates and hydrostatic lift and blowdown forces, and a design philosophy is proposed to predict the feedback phenomenon from the CFD results.
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De Nicola, Alessandra. "HERITAGE AND ART EDUCATION THROUGH THE SCREEN. FILLING THE SPACE BY PERFORMATIVE METHODOLOGIES." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end140.
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Long before the pandemic, museums started to invest, experimenting with some performative practices (Bishop 2006; Lista 2006) as a method and tool to foster access and participation of different audiences to their heritage. Since the advent of the #culturequarantine, in which most of the educational activities have taken place through a digital space, care and attention to gesture and space have become a key to respond effectively to the needs of educators and users. After an initial phase of rejection and disorientation, teachers, educators and trainers had to find new answers. The aim of this contribution is to describe some of these answers looking at methodologies coming from the field of choreographic and performance research. The argumentation will pass through the narration of some international proposals, three action research experiences accomplished with museum educators and schoolteachers, through which it was possible to observe how the needs and requirements changed as the lockdown conditions changed. The outcome of the research, which took about one year, is the reconsideration of the body as a mediator of the educational and training experience. On the one hand we see the "body as archive" for new knowledge, on the other hand, the space of digital educational activities is reified, thanks to this new role of the body.
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Nwosu, Nwachukwu P. "Employing Exergy-Optimized Pin Fins in the Design of an Absorber in a Solar Air Heater." In ASME 2009 Heat Transfer Summer Conference collocated with the InterPACK09 and 3rd Energy Sustainability Conferences. ASMEDC, 2009. http://dx.doi.org/10.1115/ht2009-88317.
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The performance of a solar air heater is primarily based on the design of the absorber plate and a substantial fraction of the cost of the heater is covered by the cost of the absorber plate. Heat transfer augmentation features for the improvement of heat transfer from the plate to the working fluid are mostly fins however these features also increase pressure drop in the flow channel. The exergy optimization philosophy is adopted in the fin sizing for this air heating application; this optimization philosophy ensures that the maximum quantity of heat is transferred by the fins while generating the least entropy in the system thus conserving exergy. Some important observations relevant in design are made.
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Ibrahim, Mazher Hassan, Matt Sinkey, and Thomas Johnston. "State of Art Fracturing Optimization Reduces Water Blockage in Unconventional Gas/Condensate Wells." In SPE Western Regional Meeting. SPE, 2022. http://dx.doi.org/10.2118/209309-ms.
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Abstract Hydraulic fracturing (fracing) is the most effective technique for improving the productivity of gas condensate reservoirs. The water used during fracing creates the conductivity needed for production, however, it will also create water blockage in the path of gas flow. The pressure and flow rate behavior of a gas condensate reservoir is distinctly different from the behavior of a solution gas drive reservoir. The producing rate is not only affected by the pressure gradient but is also a more complex function of the actual value of the flowing bottomhole pressure. Initially, the additional pressure required during flowback is needed to produce the water used during fracturing. The reservoir energy to lift this water to the surface requires more pressure drop around the wellbore. Additionally, unnecessary water used during fracing operations incrementally increases the pressure drop near the wellbore. Increased pressure drop leads the formation to reach the dew point sooner and condensate banking start to build in the fracture system. Increased condensate banking leaves valuable liquid hydrocarbon in the reservoir. Water blockages reduce well productivity and speed up the condensate damage due to the high-pressure drop required. An innovative pattern recognition and machine learning technology was applied in real-time during fracture treatment to increase fracture complexity, improve fracture conductivity, increase diffusion surface area, and improve stage productivity index. This technology focuses on creating the most stimulated fracture surface area per volume of water injected, resulting in the same fracture surface area but with a large reduction in water injected. The reduction of the water leads to an improved well productivity index by minimizing water blockage around the wellbore. Increasing fracture surface area per volume of frac water injected has a positive impact on the post-frac productivity of treated wells by increasing condensate production rates with less drawdown compared with traditional frac designs. In addition, using the optimum water volume has reduced the cost of fracturing operations and the cost of water flow back disposal leading to significant increases in well Net Present Value (NPV). A field case will be presented with condensate performance. The use of real-time fracture optimization technology with the integration of rock and reservoir fluid properties leads to better well performance. Production benefits of increased condensate production result in no reserves being lost-in-place to condensate blockage. Added ESG benefits are reduced superfluous water use, pump time, and water disposal costs.
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Murphy, Michael L. "Operation and Performance of a Fluidized Bed Boiler Firing Municipal Refuse Derived Fuel in Ravenna, Italy." In 9th Annual North American Waste-to-Energy Conference. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/nawtec9-103.
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Abstract In early 1998, the City of Ravenna, Italy, commissioned a fluid bed boiler/waste-to-energy system to combust approximately 50,000 tonnes per year of processed municipal waste and generate electrical power. Much of the fuel preparation and processing equipment was already in place and the primary focus of this project was to implement an environmentally acceptable energy conversion process compatible with the 6.0 tonnes per hour of fuel being processed. The fluid bed boiler system being provided incorporates state of the art environmental controls for abatement of all pollutants, including products of incomplete combustion (PIC’s), NOx, acid gases, and particulates. The project delivers an average of 70,000 pounds per hour of steam to generate approximately 7 MW of electricity.
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Chavan, Krishna B., and N. A. Hedaoo. "Identification of Attributes Based on TQM Principles Influencing Construction Quality in STP Project." In International Web Conference in Civil Engineering for a Sustainable Planet. AIJR Publisher, 2021. http://dx.doi.org/10.21467/proceedings.112.5.
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TQM is a management philosophy where every individual working in an ideal environment towards a common goal, continuously improving the processes and in turn improving the quality of product or process. An important factor for the success of an organization in implementing TQM is its ability to translate, integrate, and ultimately implement TQM behaviors into everyday practice on the job. This study was initially conducted by investigating the quality affecting factors (attributes) from different pieces of literature on quality performances and understanding the concept of total quality management. The questions in this questionnaire are distributed among the different phases that take place during the construction. Factor analysis involved identifying a total of 55 attributes that belonged to the different phases of construction, these factors were then distributed into critical success and failure attributes based on data analysis. These critical attributes affect the Quality performance in the construction of the STP project.
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Palakodeti, S. Rao, and Gregory Doelger. "Change Your Maintenance Philosophy When You Convert a Base Loaded Unit to Cycling Operation." In ASME 2010 Power Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/power2010-27138.
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With the fuel prices going up and many states mandating use of more renewable energy, a number of utilities are forced to convert some of their base loaded units to cycling operation. This change in operation requires a departure from the standard maintenance practices established for a given unit. This includes changes to Preventative Maintenance (PM), Predictive Maintenance (PdM), Planning and Scheduling and Key Performance Indicators (KPIs). When a unit is cycled — either minimum load to maximum load or two shift operation — it goes through stress cycles and its expected life decreases relative to the severity of cycling. When a decision is made to cycle a base loaded unit, the impact of the cycling has to be analyzed and the PM and PdM procedures need to be modified in order to maintain the expected life of the components. Cycling affects different components to different degrees and appropriate inspection and maintenance schedules need to be developed. The Key Performance Indicators (KPIs) have to be modified to monitor the effectiveness of the inspections and maintenance performed on the equipment. For example, Maintenance Basis Violation (MBV) is an important KPI for a cycling unit. Similarly, more attention has to be paid to the Planning and Scheduling activities as there are many uncertainties in the availability of the unit for preventative maintenance. The paradigm of performing PMs on a time basis should be changed to a throughput or hours of operation basis. This paper reviews the impact and severity of different cycling modes on a unit, vulnerability of common components adapting to the new mode, and discusses — in general terms — the required changes which need to be made in the inspection and maintenance practices. Also the paper reviews various KPIs that can be put in place for monitoring the impact of these procedures.