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Статті в журналах з теми "Performative work"
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Bærenholdt, Jørgen Ole, and Hanne Louise Jensen. "Performative Work in Tourism." Scandinavian Journal of Hospitality and Tourism 9, no. 4 (January 2009): 349–65. http://dx.doi.org/10.1080/15022250902978710.
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Szuba, Agata. "PERFORMATIVE PERFORMATIVE." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 108–33. http://dx.doi.org/10.5604/01.3001.0012.9926.
Повний текст джерелаАнотація:
The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?
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Massie, Raya. "Hypercreature Rhizome: A Performative Work." Cultural Studies Review 10, no. 1 (September 2, 2013): 61–79. http://dx.doi.org/10.5130/csr.v10i1.3521.
Повний текст джерелаАнотація:
This writing is an experiment, created primarily out of a synergy of rhizome, flesh, concept and hypercreature, although there are also infinite others resonating through the work. This writing is not, however, a ‘rhizomic’ or ‘fleshy’ work: it is neither faithful, nor does it seek to represent; it is not a rhizomic performance, but rather the writing is performative of hypercreature, rhizome and flesh. It is not a duplicity, but a multiplicity: this writing is an evolution or perhaps a ‘creative involution’ of these concepts.
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Nikolova, Natalia, Stewart Clegg, Stephen Fox, Kjersti Bjørkeng, and Tyrone Pitsis. "Uncertainty Reduction Through Everyday Performative Language Work." International Studies of Management & Organization 43, no. 3 (October 2013): 74–89. http://dx.doi.org/10.2753/imo0020-8825430305.
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Boedy, Matthew. "Bonhoeffer's Performative Sensibilities in His Earliest Work." Heythrop Journal 53, no. 6 (February 14, 2012): 983–92. http://dx.doi.org/10.1111/j.1468-2265.2012.00744.x.
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Fendulova, Yanitsa. "Performative and Installative Spaces." Visual Studies 6, no. 1 (June 29, 2022): 68–79. http://dx.doi.org/10.54664/lpqm4289.
Повний текст джерелаАнотація:
The article consists of an analysis of two Bulgarian contemporary artworks: by Simeon Stoilov and Atanas Totlyakov from 2021. In addition, the text discusses а work of the author, Yanitsa Fendulova, from the same year, realized as a result of a practical research in the field of performance art. The article is part of a larger study discussing the performative dimensions and values of installation works of art, the term “performative installation”.
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Rodrigues, Rejane Lopes. "CORPO E AUTOEXPERIMENTAÇÃO: UMA LEITURA DA ARTCHARNELDE ORLAN A PARTIR DO PENSAMENTO PÓS-FEMINISTA DE PAUL B. PRECIADO / Body and self-experimentation: a reading of ORLAN's artcharnel from Paul B. Preciado's post-feminist thinking." arte e ensaios 26, no. 39 (August 15, 2020): 93–105. http://dx.doi.org/10.37235/ae.n39.8.
Повний текст джерелаАнотація:
A partir da década de 1960 teve início na Europa e nos EUA um novo movimento artístico conhecido como arte performativa. ORLAN, artista plástica francesa, insere-se neste movimento através de obras que incluem intervenções cirúrgicas em seu próprio corpo com o objetivo de questionar o status do corpo feminino na sociedade ocidental contemporânea. Diante disso, propomos no presente artigo, uma análise do seu trabalho a partir das considerações teóricas do filósofo e escritor transgênero Paul B. Preciado.Palavras-chave: Arte performativa; ORLAN; Gênero; Feminismo; Paul. B. Preciado.AbstractFrom the 1960s, a new artistic movement known as performative art began in Europe and the USA. ORLAN, a French artist, is part of this movement through works that include surgical interventions on her own body in order to question the status of the female body in contemporary Western society. Therefore, in this article, we propose an analysis of his work based on the theoretical considerations of the transgender philosopher and writer Paul B. Preciado.Keywords: Performative art; ORLAN; Genre; Feminism; Paul B. Preciado.
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Cabral, Bárbara Silva da Veiga. "PERFORMANCE – EMPREENDIMENTOS [I]MOBILIÁRIOS / Performance – Real [e]state developments." Arte e Ensaios 27, no. 41 (July 24, 2021): 279–97. http://dx.doi.org/10.37235/ae.n41.15.
Повний текст джерелаАнотація:
O presente texto é um projeto que transita entre os campos da arquitetura, do urbanismo, da fotografia e da performance. Consiste no processo de composição do programa (foto)performativo da obra PERFORMANCE – EMPREENDIMENTOS [I] MOBILIÁRIOS, que conclui o artigo e é pensado, ao longo destas linhas, a partir da experiência e imagens de corpo da arquitetura (2019), em relação com situações urbanas e questões contemporâneas de cidade, como a precarização do trabalho na construção civil e processos de especulação imobiliária.Palavras-chave: Performance; Cidade; Fotoperformance; Arquitetura e Urbanismo; Programa performativo. AbstractThe present text is a project that transits between the fields of architecture, urbanism, photography and performance. It consists of the composition of the (photo) performative program of the work PERFORMANCE – EMPREENDIMENTOS [I]MOBILIÁRIOS, which concludes the article and is thought, through these lines, from the experience and images of corpo da arquitetura (2019), in relation to urban situations and contemporary city issues, such as the precariousness of work in civil construction and real estate speculation processes.Keywords: Performance; City; Photoperformance; Architecture and Urbanism; Performative program.
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Cabantous, Laure, and Jean-Pascal Gond. "A Performative Reading of The Work of Communication." Management Communication Quarterly 33, no. 1 (October 27, 2018): 117–23. http://dx.doi.org/10.1177/0893318918809422.
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Pérez Antúnez, Cynthia Jeannette. "Reflexiones sobre la epistemología dancística desde el baile flamenco." Investigación Teatral. Revista de artes escénicas y performatividad 13, no. 21 (June 13, 2022): 156–68. http://dx.doi.org/10.25009/it.v13i21.2705.
Повний текст джерелаАнотація:
La investigación performativa establece estrechos lazos entre propuestas teóricas y metodológicas, así como con la subjetividad y la objetividad. La autora aborda el baile flamenco con una metodología performativa de corte epistemológico que le permite acercarse al fenómeno desde su cuerpo. En el texto lanza cuestionamientos sociales, antropológicos, corporales, históricos, estructurales y afectivos. La investigación performativa está relacionada con el ejercicio crítico y reflexivo del quehacer del investigador como persona y ejecutante. La propuesta apunta a la producción de conocimiento desde el propio cuerpo.Palabras clave: cuerpo; performatividad; reflexividad; danza; antropología; Sevilla.
Notes on Dance Epistemology from the Viewpoint of FlamencoAbstractPerformative research links theoretical and methodological tools with issues of subjectivity and objectivity. The author addresses flamenco dance from an epistemological and performative perspective grounded in her body. She poses a set of social, anthropological, bodily, historical, structural, and affective questions. Performative research is closely related to reflexivity, which is the critical exercise of the researcher’s work as a person and performer. The article calls for the production of knowledge from the body.
Recibido: 14 de febrero de 2021Aceptado: 06 de junio de 2021
Дисертації з теми "Performative work"
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Alotaibi, Amal. "IT-enabled performative spaces in gender segregated work." Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/43370/.
Повний текст джерелаАнотація:
This thesis investigates the use of ICT in Saudi Arabia to support collaboration between segregated genders. It attempts to understand the emerging technology practices of workers in higher education institutions, which are aimed at bridging the culturally imposed spatial divide between men and women in the workplace. In examining the gender-segregated context, the study also looks into the consequent organisational and structural changes resulting from technology use. This includes evaluating new practices in terms of progressive change, and how this specifically relates to the work experiences of women as a subordinated and marginalised group. Furthermore, the study uses the Saudi context as a vehicle to explore IS discussions regarding the human and material/technical aspects of agency in technology use, and the role attributed to each in theoretical perspectives on organisation. Prior research has extended Giddens' (1984) structuration theory to incorporate material agency as part of a social-technical ensemble. Yet the ways in which physical-digital spaces contextualise interactions and structure work practices are under explored. Thus, the study develops a conceptual model that extends concepts of 'locale' and 'regionalisation' from structuration theory to the IS field, and defines 'technical settings of interaction' constituted by human and material agencies. The research presented in this study uses a single case design, and collects data by conducting interviews and non-participant observation at Umm AI-Qura University (UQU) in Makkah. The case of gender segregated work in Saudi is used to illustrate the performativity of digital spaces, and demonstrates how workers use technical configurations of ICTs to create zones of interaction that can challenge existing cultural norms, or hinder progressive change. Finally, the study finds that attending to Giddens' focus on time-space not only adds an additional level of analysis to technology studies, but also shows the potential of structurational research in contributing to sociomaterial discussions on materiality.
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White, Timothy Edward John. "The use of the performative to disrupt form in the work of artists since 1960." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/104924/.
Повний текст джерелаАнотація:
I intend to examine the work of five practitioners who, in embracing the possibilities arising from a disruption of form, operate on the cusp between the modern and the postmodern. They generate work that must be understood, and can most usefully be experienced, as performative. The unitary form and anti form objects of sculptor Robert Morris are considered as differing ways of projecting object hood, provoking the beholder to address the total situation of the art work, including their participation, rather than the formal properties of the object. Allan Kaprow's progression from Assemblage through Environments to Happenings and beyond is regarded as an evolving process in which an antagonistic attitude toward the limitations of form is tempered by the emergence of performative circumstances that obviate the need to continually challenge the role of the object. The third section passes through the complex phenomenon of Joseph Beuys, identifying a practice that is performative, both because and in spite of the tension between the conception of art advocated by the artist and that within which he operates. Performance, in the interventions of Body Artist Chris Burden, is that which simultaneously allows for, being the justification for his presence amidst that of another individual, and is, the disruption of the normalising tendency of form. Finally, the 'operas' of Robert Wilson suggest ways in which work that is overtly theatrical in form can avail itself of the disruptive tendencies arising from fine art's adoption of a theatrical sensibility. In conclusion, it is argued that the performative work is inevitably formally diverse because its form arises from the encounter between thee beholder and the provocations of the artist, rather than being lodged within an immutable object.
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Polizzi, Allessandria. "Working Whiteness: Performing And Transgressing Cultural Identity Through Work." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3121/.
Повний текст джерелаАнотація:
Early in Richard Wright's Native Son, we see Bigger and his friend Gus “playing white.” Taking on the role of “J. P. Morgan,” the two young black men give orders and act powerful, thus performing their perceived role of whiteness. This scene is more than an ironic comment on the characters' distance from the lifestyle of the J. P. Morgans of the world; their acts of whiteness are a representation of how whiteness is constructed. Such an analysis is similar to my own focus in this dissertation. I argue that whiteness is a culturally constructed identity and that work serves as a performative space for defining and transgressing whiteness. To this end, I examine work and its influence on the performance of middle class and working class whiteness, as well as how those outside the definitions of whiteness attempt to “play white,” as Bigger does. Work enables me to explore the codes of whiteness and how they are performed, understood, and transgressed by providing a locus of cultural performance. Furthermore, by looking at novels written in the early twentieth century, I am able to analyze characters at a historical moment in which work was of great import. With the labor movement at its peak, these novels, particularly those which specifically address socialism, participate in an understanding of work as a performative act more than a means to end. Within the context of this history and using the language of whiteness studies, I look at how gendered whiteness is transgressed and reinforced through the inverted job-roles of the Knapps in Dorothy Canfield's The Home-Maker, how work can cause those who possess the physical attributes of whiteness to transgress this cultural identity, as the Joads in The Grapes of Wrath demonstrate, and how the ascribed identities as non-white for Sara in The Bread Givers, Jurgis in The Jungle, and Bigger in Native Son are by far more compelling than their performative acts.
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Kullberg, Helena. "Vad ska jag göra som specialpedagog? : En materiell-diskursiv analys av specialpedagogers uppdrag och yrkesroll i ett skolområde." Thesis, Högskolan Kristianstad, Fakulteten för lärarutbildning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-20827.
Повний текст джерелаАнотація:
Specialpedagogens uppdrag och yrkesroll har i många år uppmärksammats i forskningen, främst i förhållande till speciallärarens uppdrag och yrkesroll för att belysa likheter och skillnader. Denna studie har en ambition att bidra till att belysa vad som påverkar utformningen av en specialpedagogs uppdrag och yrkesroll. Studien är kvalitativ och utgår ifrån Karen Barads teori om agentisk realism där både mänskliga och icke-mänskliga kroppar (performativa agenter) påverkar föreställningar kring t.ex. specialpedagogens uppdrag och yrkesroll. Materia så som t.ex. styrdokument, utbildning mm och språk är starkt sammankopplade i den verklighet som specialpedagogen verkar i och därför bygger studien på en materiell-diskursiv analys. Syftet med denna studie är att åskådliggöra och identifiera vilka performativa agenter som påverkar hur specialpedagogens uppdrag och yrkesroll utformas i grundskolorna i ett skolområde. Metoddelen bygger på en brevmetod samt semistrukturerade intervjuer med speciallärare, specialpedagoger, rektorer och en skolområdeschef i ett skolområde. För att tydliggöra vilka performativa agenter som äger agens i bearbetningen har ett analysschema skapats utifrån uppdrag respektive yrkesroll. I analysschemat för uppdraget har de performativa agenterna kategoriserats utifrån en figur som jag har skapat för att tydliggöra uppdraget. Resultatdelen visar på hur uppdrag respektive yrkesroll presenteras av specialpedagoger, speciallärare, rektorer samt skolområdeschef och pekar på att det förekommer ett stort antal performativa agenter varav rektorns kompetens, rektorns beslut, verksamhetens behov och specialpedagogens kunskap och kompetens har stor betydelse i utformningen av specialpedagogens uppdrag och yrkesroll. Avslutningsvis diskuteras vilken betydelse de performativa agenterna har för utformningen av specialpedagogens uppdrag och yrkesroll samt hur det specialpedagogiska stödet utformas i en organisation. Men även hur figuren som använts kan vara en tydlig modell att använda för att analysera specialpedagogens uppdrag i förhållande till elevhälsoteamets hälsofrämjande, förebyggande och åtgärdande arbete i skolorganisationen d.v.s. som en del i skolutveckling.The special educator´s mission and professional role have for many years been noticed in the research, mainly in relation to the special teacher´s mission and professional role to highlight similarities and differences. This study has an ambition to help illuminate what influences the design of a special educator´s mission and professional role. The study is qualitative and is based on Karen Barad´s theory of agentic realism where both human and non-human bodies (performative agents) influence perceptions about, for example the special educator´s mission and professional role. Matter and language are strongly interconnected in the reality in which the special educator works and therefore the study is based on a material-discursive analysis. The purpose of the study is to illustrate and identify which performative agents influence how the special educator´s assignments and professional role are designed in primary school in a school district. The method part is based on a letter method and semistructured interviews with specialist teachers, special educators, principals and a school district manager in a school district. In order to clarify which performative agents own agents in the processing, an analysis scheme has been created based on assignments and professional role. In the analysis schedule for the assignment, the performative agents have been categorized on the basis of a figure that I created to clarify the assignment. The results section shows how assignments and professional roles are presented by special educators, special teachers, principals and a school district manager, and points to the fact that there are a large number of performative agents, of which the principals competence, the decision of the principal, the needs of the organization and the knowledge and competence of the special educator are of great importance in the design of the special educator´s assignment and profession. Finally, we discuss the importance of the performative agents for the design of the special educator´s mission and professional role and how the special educational support is designed in an organization. But also how the figure used can be a clear model to use to analyze the special educator´s assignment in relation to the student health team´s health promotion, prevention and corrective work in the school organization, i.e. as part of school development.
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Hombourger, Juline. "Le travail du négatif dans l’œuvre romanesque de Réjean Ducharme." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040038.
Повний текст джерелаАнотація:
Dans les sciences humaines, le travail du négatif est une notion qui appartient surtout aux domaines philosophiques et psychanalytiques. En tenant compte de cette filiation, sa pertinence dans le champ littéraire se révèle également effective. En effet, lorsque l’on confronte l’idée à l’œuvre romanesque de Réjean Ducharme, l’action du travail du négatif rend compte des enjeux souterrains de cette écriture. Ainsi, le texte apparaît comme le lieu de l’instabilité où chacune des composantes donne à voir son envers et où les contradictions coexistent. Dans cette dynamique, les trois catégories du récit vacillent : elles sont sculptées dans une autre matière que celle qu’on leur assigne généralement. Dans un même élan, le style ducharmien s’empare du travail du négatif en défigeant le mot, en resémantisant la phrase, en offrant à la parole le pouvoir d’avoir un impact sur le réel. Tout est conçu pour échapper à la fixité. Construits de la sorte, les romans véhiculent une vision du monde tragique. Cette dernière, à travers l’acte de lecture, se voit pétrie par le grotesque et engendre alors un fatum qui s’apparente à l’uniformisation. Cette réalité dévoile, paradoxalement, un univers en déséquilibre qui fait écho à l’étymologie du mot baroque, « perle irrégulière ». Le texte ducharmien est donc le carrefour de plusieurs esthétiques qui possèdent toutes, en leur essence, un mouvement semblable au travail du négatif. Celui-ci peut être perçu, dans tous les cas, comme un révélateur de littérarité. Il opère, d’ailleurs, de cette manière, dans d’autres œuvres francophones, notamment dans celles de Rachid Boudjedra, de Maurice Bandaman et de Dominique RolinIn Human Sciences, the work of the negative is a concept which mainly belongs to the philosophical and psychoanalytical fields. Taking into account this relationship, its relevance in the literary field also proves effective. Indeed, when this notion is applied to the novels of Réjean Ducharme, the action of the work of the negative reveals the underground stakes of the author’s work. Thus, his writing takes us constantly back and forth between all the opposed elements which populate it. Ducharme’s texts are a place of instability, where each component shows its hidden side and where contradictions shaped by the process of involution coexist. Within this dynamic, the narrative mode loses its equilibrium: time, space and characters are sculpted with very unusual clay. In the same spirit, Ducharme’s writing style seizes the work of the negative by loosening words, and giving a new meaning to sentences, by offering to the word the power of having an impact on reality. Everything is designed to escape immobility. Novels built on this pattern convey a tragic vision of the world; a vision which through the act of reading finds itself steeped in the grotesque and therefore generates a fatum, which is very similar to sameness. Paradoxically, this reality unveils an unbalanced world and echoes the baroque word "irregular pearl" in its etymological meaning. Ducharme’s writing is at a crossroad between several aesthetics, whose quintessential principles are similar to the work of the negative. The latter can be perceived as an indicator of literariness and can be found in some of other French works, including those of Rachid Boudjedra, Maurice Bandaman and Dominique Rolin
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Gonçalves, Charles Dias. "Livro do Desassossego de Fernando Pessoa. O drama em gente no drama editorial." Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/526.
Повний текст джерелаАнотація:
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Neste trabalho de dissertação, tenciona-se analisar aspectos da obra de Fernando Pessoa na prosa-poética do Livro do Desassossego, de Bernardo Soares. A partir da reflexão sobre o conceito de “livro”, pode-se pensar na teoria da “obra aberta” e nas noções de abertura e infinitude do texto literário. Esse percurso possibilita uma incisiva indagação à própria obra, e ao “livro por vir”, cuja essência está no inconcluso, em fragmentos de um livro nunca concluso ou fechado. Através da análise de algumas de suas edições, tentar-se-á pensar o Livro também através do conceito de work in progress e obra rizomática. A primeira parte deste trabalho tem por objetivo refletir sobre o aporte teórico para confecção da dissertação, através de pensadores, filósofos e críticos como Walter Benjamin (1984), José Guilherme Merquior (1991), Malcolm Bradbury e Frederick r. Karl (1989); Stéphane Mallarmé (1991) e Umberto Eco (1968), Homi Bhabha (2005), Gilles Deleuze e Félix Guattari (2004), Émile Durkheim (1987) e Eduardo Lourenço (1986). A segunda parte é dedicada à metodologia do trabalho, a fim de justificar a escolha do corpus analítico utilizado: edições do Livro do Desassossego realizadas por Leyla Perrone-Moisés (1986), Richard Zenith (2011) e Jerónimo Pizarro (2013). A terceira e a quarta partes são compostas pelo trabalho analítico. Pela análise das edições cotejadas e por meio de uma leitura mais profunda pretende-se a articulação da análise com o aporte teórico e a metodologia. A parte conclusiva do trabalho pretende retomar possíveis achados da análise e sustentar a provocação crítica já iniciada por nomes da literatura, como Eduardo Lourenço e Leyla Perrone-Moisés, segundo os quais o Livro do Desassossego pode ser lido como o símbolo material da certeza de não-fechamento de todos os textos e o possível suicídio da mitologia heteronímica de Fernando Pessoa.
In this dissertation paper, it is an intention to analyze aspects of Fernando Pessoa´s work in the prose-poetic of Livro do Desassossego (Unrest Book) from Bernardo Soares. Starting from the reflection on the concept of “book”, it is possible to think about the theory of the “open work”, and about the literary text´s notions of opening and infinitude. This path enables an incisive quest at the work itself, and at the “book to come”, whose essence is in the inconclusive, in fragments of a book never concluded or closed. Through the analysis of some of its editions, there will be an attempt to think about the book also through the concept of ‘work in progress’ and rhizomatic work. The first part of this work aims at the reflection on the theoretical support for the dissertation confection, through thinkers, philosophers and critics such as Walter Benjamin (1984), José Guilherme Merquior (1991), Malcolm Bradbury e Frederick r. Karl (1989); Stéphane Mallarmé (1991) e Umberto Eco (1968), Homi Bhabha (2005), Gilles Deleuze e Félix Guattari (2004), Émile Durkheim (1987) e Eduardo Lourenço (1986). The second part is dedicated to the paper´s methodology, in order to justify the choice for the utilized analytical corpus: editions of Livro do Desassossego (Unrest Book) accomplished by Leyla Perrone-Moisés (1986), Richard Zenith (2011) e Jerónimo Pizarro (2013). The third and fourth parts are composed by analytical work. Through the collated editions and through a deeper reading, the analysis´ articulation is intended with the theoretical support and the methodology. The paper´s conclusive part intends to recapture possible analysis´ findings and support the critical provocation already initiated by literary names such as Eduardo Lourenço e Leyla Perrone-Moisés, according to whom Livro do Desassossego (Unrest Book) might be read as a material symbol for the certainty of all the texts’ non-closing and the possible suicide of Fernando de Pessoa´s heteronymic mithology.
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Vickery, Lindsay Ross. "Exploring new and emerging models for nonlinear performative works." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/63499/1/Lindsay_Vickery_Thesis.pdf.
Повний текст джерелаАнотація:
This dissertation seeks to define and classify potential forms of Nonlinear structure and explore the possibilities they afford for the creation of new musical works. It provides the first comprehensive framework for the discussion of Nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century.
Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates Nonlinear structures in relation to linear structures and unstructured sonic phenomena and provides a means of evaluating Nonlinearity in a musical structure through the consideration of the degree to which the structure is integrated, contingent, compressible and determinate as a whole.
It is proposed that Nonlinearity can be classified as a three dimensional space described by three continuums: the temporal continuum, encompassing sequential and multilinear forms of organization, the narrative continuum encompassing processual, game structure and developmental narrative forms and the referential continuum encompassing stylistic allusion, adaptation and quotation.
The use of spectrograms of recorded musical works is proposed as a means of evaluating Nonlinearity in a musical work through the visual representation of parametrical divergence in pitch, duration, timbre and dynamic over time. Spectral and structural analysis of repertoire works is undertaken as part of an exploration of musical nonlinearity and the compositional and performative features that characterize it.
The contribution of cultural, ideological, scientific and technological shifts to the emergence of Nonlinearity in music is discussed and a range of compositional factors that contributed to the emergence of musical Nonlinearity is examined. The evolution of notational innovations from the mobile score to the screen score is plotted and a novel framework for the discussion of these forms of musical transmission is proposed.
A computer coordinated performative model is discussed, in which a computer synchronises screening of notational information, provides temporal coordination of the performers through click-tracks or similar methods and synchronises the audio processing and synthesized elements of the work. It is proposed that such a model constitutes a highly effective means of realizing complex Nonlinear structures.
A creative folio comprising 29 original works that explore nonlinearity is presented, discussed and categorised utilising the proposed classifications. Spectrograms of these works are employed where appropriate to illustrate the instantiation of parametrically divergent substructures and examples of structural openness through multiple versioning.
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West, Sarah. "Say It: The Performative Voice in the Dramatic Works of Samuel Beckett." Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7483.
Повний текст джерелаАнотація:
La investigación se centra en la 'performative voice' en la obra dramática de Beckett. El término 'performative' es usado para abarcar: (a) la 'intencionalidad' de las voces, la voluntad que las lleva a expresarse, y (b) la 'materialidad' de estas voces, como suenan en realidad. Se incluyen en el análisis tanto el discurso dramático como los aspectos técnicos relativos al sonido.El estudio de la 'performative voice' abarca las siguientes áreas:
·La génesis de la 'performative voice' en las primeras obras de ficción de Beckett.
·La manera en que la voz es tratada en medios distintos como el teatro, la radio y la televisión.
·La personificación de la voz y de que manera la voz como 'personaje' está en relación con otros elementos dramáticos.
·La relación entre voces habladas y escritas y la adaptación de un tipo de prosa específico para el escenario.
The investigation centres on the 'performative voice' in Beckett's dramatic oeuvre. The term 'performative' is used to cover: (a) the 'intentionality' of voices, the will that drives them to speak, and (b) the 'materiality' of these voices, how they actually sound. Both dramatic speech and technical aspects of sound reproduction are included in the analysis.
The study of the performative voice covers the following areas:
·The genesis of the performative voice in Beckett's early fiction.
·The way in which voice is treated in the different performance media of the stage, radio and television.
·The personification of voice and how voice as a 'character' relates to other dramatic elements.
·The relationship between spoken and written voices and the adaptation of a prose work for the stage.
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Rabelo, Antonio Flávio Alves 1975. "Corpoestranho - corpo performatico multirrelacional : paradoxos do processo de criação." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284007.
Повний текст джерелаАнотація:
Orientadores: Renato Ferracini, Fernando Antonio Pinheiro Villar de QueirozDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T21:43:19Z (GMT). No. of bitstreams: 1 Rabelo_AntonioFlavioAlves_M.pdf: 36129903 bytes, checksum: b5234e414478336fc8d9c66965cf758f (MD5) Previous issue date: 2009
Resumo: Nesta dissertação, desenvolvemos uma pesquisa prática-conceitual sobre os paradoxos dos processos criativos do corpo-em-arte. Esta corporeidade é experimentada no terreno da performance artística em espaços alternativos públicos e privados. O processo da pesquisa está relacionado à criação, execução, documentação, reflexão e análise da série de performances intitulada ",Corpoestranho,". Sua base conceitual está associada ao conceito de Corpo Subjétil em Ferracini (2006), a partir das noções de rizoma, CsO, devir e acontecimento em Deleuze (1995, 2007). Nesta pesquisa, problematizamos a busca por procedimentos para o corpo-em-arte (corpo subjétil) articulados pelos encontros da "Rede de Afetos" do nosso processo criativo, assumindo os aspectos coletivos inerentes a ação criativa e a processualidade enquanto obra (Cohen, 2004). Dessa forma, o ",corpoestranho," se configura como um corpo em processo, corpo fronteira e paradoxal. Um corpo rizomático, virtualizado e atualizado (Lévy, 1996) na trama dessa "Rede de Afetos", a partir da relação dos micro-elementos internos e externos que o compõe. Corpo entre o "eu" e o "outro", corpo em transbordamento, posto em relação com o espaço, o tempo e os outros corpos.
Abstract: In this dissertation, we have developed a conceptual-practical research about the paradoxes of the creative processes of the body in art. This corporeity is experimented in the subject of artistic performance in public and private alternative spaces. The research process is related to creation, execution, documentation, reflection and analysis of the series of performances named ",Corpoestranho,". Its conceptual basis is associated with the concept of Corpo Subjétil in Ferracini (2006), from the notions of rhizome, CsO, deviance and event in Deleuze (1995, 2007). In this research, we have problemized the search for procedures for the body in art (corpo subjétil) articulated by the meetings of "Rede de Afetos" of our creative process, admitting the collective aspects inherent to the creative action and the processuality as work (Cohen, 2004). In this way, the ",corpoestranho," is configurated as a body in process, boundary and paradoxal body. A rhizomatous body, virtualized and up-to-date (Lévy, 1996) in the scheme of this "Rede de Afetos", from the relation of the internal and external micro-elements that forms it. Body between "me" and "other", body in overflow, put in relation to space, time and other bodies.
Mestrado
Artes Cenicas
Mestre em Artes
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Borgström, Tatiana. ""Det där???!!!? Det är väl ingen t-j-e-j precis. Det är ju… Milla!" : En diskursanalys av populär barnlitteratur utifrån ett genusperspektiv." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-67582.
Повний текст джерелаАнотація:
I detta självständiga arbete undersöks nio barnböckers framställning av pojkar, flickor och icke-binära samt vilka effekter könsnormer i barnlitteratur kan ha på barns identitetsskapande. Studien utgår från en kvalitativ metodansats i form av en diskursanalys. Böckerna har analyserats utifrån ett genusperspektiv med fokus på normaliseringsprocesser. Syftet med studien är att bidra till en ökad förståelse för vilka budskap om könsnormer som framträder i barnlitteratur på förskolor och hur de kan påverka förskolebarn. För att analysera vilka egenskaper karaktärer tillskrivs i de valda böckerna har Nikolajevas (2004) genusschema använts som analysverktyg. Schemat ger en tydlig överblick på stereotypiska maskulina respektive feminina attribut som Nikolajeva (2004) menar ofta tilldelas pojkar och flickor i barnlitteratur. I resultatet framkommer en reproduktion av stereotypiska könsnormer i övervägande delen av böckerna. I böcker som visar sig inneha andra könsnormer än det heteronormativa finns mer könsneutrala karaktärer men det skymtas fortfarande en stor andel maskulina egenskaper och vissa stereotypiska inslag. Ett av studiens centrala resultat visar att äldre barnböcker visar sig ha starkare stereotypiska könsnormer än nya barnböcker. Dock visar tidigare forskning att det kan behövas barnlitteratur med en variation av könsnormer så att alla förskolebarn får möjligheten att finna meningsskapande i sitt läsande av barnböcker.
Книги з теми "Performative work"
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Diakonie inszenieren: Performative Zugänge zum diakonischen Lernen. Stuttgart: Verlag W. Kohlhammer, 2015.
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White, Timothy Edward John. The use of the performative to disrupt form in the work of artists since 1960. [s.l.]: typescript, 1994.
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Zwischen Wort und Wort: Interpretation und Textanalyse. München: Wilhelm Fink, 2006.
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Kaufmann, Christian, and Ximena Aburto Felis. Entlang der Mainzer: Ein interdisziplinäres Kunst- und Kulturprojekt der Evagelischen Akademie Frankfurt zur performativen Stadtkultur. [Frankfurt am Main]: Societäts-Verlag, 2013.
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J. L. Austin's concept of "performative word": A systematic theological analysis in sacramental theology and in Igbo traditional religion : its impact on the use of Igbo language for effective evangelization in Igboland. Frankfurt am Main: Peter Lang, 2012.
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Siewert, Senta. Performing Moving Images. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.
Повний текст джерелаАнотація:
Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.
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Cortez, Cesar Ignacio, and Ian Fleishman. Performative Opacity in the Work of Isabelle Huppert. Edinburgh University Press, 2023.
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Cortez, Cesar Ignacio, and Ian Fleishman. Performative Opacity in the Work of Isabelle Huppert. Edinburgh University Press, 2023.
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Cortez, Cesar Ignacio, and Ian Fleishman. Performative Opacity in the Work of Isabelle Huppert. Edinburgh University Press, 2023.
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Hardt, Yvonne. Pedagogic In(ter)ventions. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.5.
Повний текст джерелаАнотація:
This chapter investigates how working with Yvonne Rainer’s “Continuous Project–Altered Daily” in a dance educational setting gears the attention toward the importance of context, corporeal and group knowledge, and the specific skills of reenacting the scores of performances of avant-garde dance. Thus, the chapter not only allows for a wider theorization of working with the past as a performative practice, but also rereads common interpretations of Rainer’s work that so far have predominantly focused on the anti-institutional aspects; thus the chapter focuses on revealing the productive, highly cooperative, and performative knowledge that was also constitutive for Rainer’s creation processes and improvisation-based performances.
Частини книг з теми "Performative work"
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Delmas, Corinne. "Psychosocial Risks at Work: A Performative Speech Act." In Psychosocial Health, Work and Language, 37–54. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50545-9_3.
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Searles, Edmund (Ned). "The Smell of Smudge, the Work of Smoke: Reenacting Native American Ritual in an Anthropology Course." In Experiential and Performative Anthropology in the Classroom, 101–16. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41995-0_7.
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Nainby, Keith. "Not Just Literature: Exploring the Performative Dimensions of Bob Dylan’s Work." In Polyvocal Bob Dylan, 67–83. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17042-4_4.
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O’Keeffe, Patrick. "The PhD by Publication as Preparation for Work in the ‘Performative University’." In Landscapes and Narratives of PhD by Publication, 199–213. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04895-1_13.
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Schaag, Katie. "Biological Plasticity and Performative Possibility in the Work of Catherine Malabou and Curious." In Inter Views in Performance Philosophy, 145–59. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-349-95192-5_13.
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Ehn, Pelle, Thomas Binder, Mette Agger Eriksen, Giulio Jacucci, Kari Kuutti, Per Linde, Giorgio De Michelis, et al. "Opening the Digital Box for Design Work: Supporting Performative Interactions, Using Inspirational Materials and Configuring of Place." In The Disappearing Computer, 50–76. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-72727-9_3.
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Grewendorf, Günther. "How Performatives Don’t Work." In Speech Acts, Mind, and Social Reality, 25–39. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-010-0589-0_3.
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Cahill, Helen, Julia Coffey, and Sally Beadle. "Performative Pedagogy: Poststructural Theory as a Tool to Engage in Identity Work Within a Youth-Led HIV Prevention Program." In Handbook of Children and Youth Studies, 301–14. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-4451-15-4_68.
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Cahill, Helen, Julia Coffey, and Sally Beadle. "Performative Pedagogy: Poststructural Theory as a Tool to Engage in Identity Work within a Youth-Led HIV Prevention Program." In Handbook of Children and Youth Studies, 1–11. Singapore: Springer Singapore, 2014. http://dx.doi.org/10.1007/978-981-4451-96-3_68-1.
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Searle, John R. "Chapter 4. How Performatives Work." In Essays in Speech Act Theory, 85–107. Amsterdam: John Benjamins Publishing Company, 2001. http://dx.doi.org/10.1075/pbns.77.05sea.
Повний текст джерелаТези доповідей конференцій з теми "Performative work"
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Dietz, Dieter, Aurélie Dupuis, Julien Lafontaine Carboni, and Darío Negueruela Del Castillo. "A Performative Threshold Between Teaching Research and Practice: Atlas Poliphilo as Scaffold." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.65.
Повний текст джерелаАнотація:
Hunches allow us to navigate in a trans-scalar world. Without them, teachers, researchers and practitioners would be left aimless.Hunches relate to the embodied and synthetic nature of the knowledge we produce, but also to its unfolding. Instead of denying importance of hunches or minimizing their impact, can we imagine to build a more apt framework for the kinds of encounters and negotiation they facilitate? Shall we do it within pre-existing academic and practical knowledge? Can we set up a pedagogical experience that sets a time and space to collectively integrate and share hunches, to experiment with them and to ultimately operationalize them in designerly or scientific manners? In this paper, we introduce and discuss our experience with Atlas Poliphilo, an experimental studio that runs its second iteration during the spring semester 2019. Neither a design studio nor a seminar, the Atlas sets up a framework for collaborative enquiry that further elaborates on them. The course gathers students from civil and environmental engineering together with students of architecture, and landscape architecture to work collaboratively for one semester. This experience is framed in our work on new visions for the trans-border Greater Geneva as one of the selected teams aiming at tackling its current social, economic and environmental challenges and constructing a framework to think and discuss its growth in the next 35 years.This interdisciplinary course addresses an alternative of perceiving and integrating the constitutive complexity of the territory and the intertwined trajectories of all its different agents. Departing from the situated experiences of the students within a given site of exploration, the course aims at carefully unfolding their many dimensions – the relational and performative aspects of involvement, bodily experience, environmental context and objects, individual and collective cultural frames – allowing to experiment with them and to render them explicit. This is grounded on the conviction that an ability to affect is reciprocated by a capacity of being affected.
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Del Signore, Marcella, Mona El Khafif, Steven Beites, and Ila Berman. "Urban Syncopation." In 2017 ACSA Annual Conference. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.amp.105.60.
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‘Urban Syncopation’ temporarily inhabits the existing spaces of the city with a performative skin that functions as a responsive, dynamic interface. As in the encryption of data that underlies the invisible orgware of the city’s systems, the patterned and faceted surface of this installation acts as an infrastructural device and living thickened topography that collects, transcodes, and re-transmits—in arhythmic syncopated fashion—the collective ‘heartbeat’ of the city as this is interwoven with the reflected movements of its immediate environs. The work is a repository of urban information that renders visible the unseen traces of the city’s occupation while simultaneously weaving them into a new architectural and spatial network.
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Caracci, Walter, Roberto Kawano, Luis Ingerman, Pamela Pallud, Paula Freyre, Marcelo Carpe, Susana Nari, Luz Ghietto, Eliana Peñalva, and Matías Poletti. "La escisión entre la ciudad real y la ciudad postulada: estrategias alternativas para la reformulación de las normas urbanísticas sobre la edificabilidad en la ciudad de Santa Fe." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Instituto de Arte Americano. Universidad de Buenos Aires, 2013. http://dx.doi.org/10.5821/siiu.5945.
Повний текст джерелаАнотація:
Toda obra arquitectónica implica una idea de ciudad. En el centro de Santa Fe se constata una
contradicción en este sentido, en tanto los modos de la inversión inmobiliaria promueven la consolidación de
un tejido altamente heterogéneo mientras que las tipologías predominantes para la edificación de alta
densidad postulan un paisaje caracterizado por un tejido compacto de alturas uniformes y frentes continuos
de muy difícil concreción. Se trata de una escisión no sólo alentada por las lógicas del mercado inmobiliario,
sino también por las propias normativas municipales que regulan estos procesos. Con el objetivo de reducir
esta “brecha”, el proyecto “Ciudad real y ciudad postulada” (FADU-UNL) se basa en la potencialidad de los
SIG, como instrumento analítico-performativo, para redefinir los parámetros tradicionales sobre los que se
asienta la reglamentación vigente, considerando el estado de hecho como las potencialidades concretas de
transformación en un marco de sostenibilidad. All architectural work involves an idea of town. In downtown Santa Fe there’s a contradiction in this respect,
because the modes of investment promote the consolidation of a highly heterogeneous urban fabric as the predominant architectural typologies for high density building postulate a landscape characterized by a compact urban fabric of uniform heights and continuous façade, very hard to find in the “real” city. This is a split not only encouraged by the logic of the housing market, but also by the municipal regulations governing these processes. In order to reduce this "gap", the Project "Real City and Postulated City" (FADU-UNL)
is based on the potential of GIS as an analytical-performative tool, to redefine traditional parameters that underpin the current regulations, considering the state of affairs as the specific potential transformation into a sustainable framework.
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Hosseini-Eckhardt, Nushin, and Leicy Esperanza Valenzuela Retamal. "RADICAL PRESENT AND REFLEXIVE CONNECTIONS. DIDACTICAL APPROACHES TO ALIENATED SPACES." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end150.
Повний текст джерелаАнотація:
Our starting position is the observation of disappearing public spaces and due to that an increasing alienation in social structures (the global pandemic situation having accelerated this). From two different fields of pedagogy (philosophy of education and performative arts) we aim to set up didactical approaches that give a counterbalance to those tendencies. Especially growing possibilities and challenges of digital formats lead us to a pedagogy of the “Radical Present“. On the basis of our previous theoretical research and practical work in schools and workshops we want to discuss and apply concepts and methods of “Reflexive Connections“ and „Whole-Body-Performances“ as ways of initiating experiences in pedagogical settings. Anyone who shares the interest of finding ways of connection as a joint democratic idea is welcome to participate e.g. teachers, graduate students, masters or doctoral students, researchers and others (8-12).
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Taylor, Chris. "Great Salt Lake Exploration Platform." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.28.
Повний текст джерелаАнотація:
The Great Salt Lake Exploration Platform is a creative machine built to foster visual and performative research within the vastly under explored situated locale of the Great Salt Lake. GLSEP is a modular, flexibly deployable craft for a small group of people to remain upon the lake for limited durations of time, make work, and not die. Given the remote severity of this landscape the qualifier is significant. Storms appear quickly and can generate ten to twelve foot waves in tight oscillation. Coupled with the water’schemical density the lake is known to literally tear boats apart. Rather than being built and powered as a boat, with need of a marina to launch and a geometry to accommodate overland travel, the GSLEP is a deployable assembly providing necessary life support and research infrastructure (shade, fresh water, food and waste storage, solar power, communications,and evacuation provisions) to researchers operating on the Great Salt Lake, akin to off planet missions with immanent dangers and very limited rescue opportunities.
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Morabito, Robin, Jack Armitage, and Thor Magnusson. "Ritualistic Approach to Sonic Interaction Design: A Poetic Framework for Participatory Sonification." In ICAD 2022: The 27th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2022. http://dx.doi.org/10.21785/icad2022.018.
Повний текст джерелаАнотація:
While sonification is often adopted as an analytical tool to understand data, it can also be an efficient basis for the construction of an interaction model for an aesthetic sound piece. Mirroring the performative arts, a ritualistic approach in participatory sonification can take place whenever a work relies more on the outer form of the piece, than on the meaning attributed to the information communicated, to connect with an audience, losing some degrees of readability and intelligibility in the process while maintaining a reliable data-to-sound relationship. We will present a few examples that anticipate or expand the use of sonification as analytical tool to propose aesthetic approaches, accessing more complex layers of meaning in interactive design. By proposing topological, semantic, and technical perspectives, we demonstrate the functional aspects of the multimedia artwork “The Only Object They Could Retrieve From Earth’s Lost Civilisation” (“The Only Object” from now on). Outcomes will be considered under the multidisciplinary framework here proposed, to conclude with possibilities and implications of a ritualistic approach to interaction design.
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Abbas, Naqaa, and Hend Taher. "Celebrating Culture - Literary Communities of Practice in Doha." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0264.
Повний текст джерелаАнотація:
Our paper focuses on the role of arts and culture in Doha. More specifically, we examine literary circles in Doha (both Arab and English speaking) and regard them as ‘communities of practice.’ According to Etienne Wenger, communities of practice are “groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” Moreover, such communities are seen as promoting innovation, developing social capital, facilitating and spreading knowledge within a group, and spreading existing knowledge. Recently, there has been a surge of active literary communities presenting their creative work in both English and Arabic attracting a variety of audiences and fans. For instance, young authors such as Kumam Al Maadeed, Eissa Abdullah, Buthaina Al-Janahi and Abdullah Fakhro not only have a huge online following, but they also have a significant fan base attending their events throughout the city. Besides these communities, there are also numerous organizations with which these celebrity authors are associated such as Qalam Hebr, Qatari Forum for Authors, and Outspoken Doha – we argue that such organizations can also be regarded as communities of practice. Our contention is that these ever-growing communities provide a performative space in which poets, singers, authors and artists can experiment with the fluidity of their assigned identities, cultures and traditions.
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Hadzantonis, Michael. "Becoming Spiritual: Documenting Osing Rituals and Ritualistic Languages in Banyuwangi, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.17-6.
Повний текст джерелаАнотація:
Banyuwangi is a highly unique and dyamic locality. Situated in between several ‘giants’ traditionally known as centres of culture and tourism, that is, Bali to the east, larger Java to the west, Borneo to the north, and Alas Purwo forest to the south, Banyuwangi is a hub for culture and metaphysical attention, but has, over the past few decades, become a focus of poltical disourse, in Indonesia. Its cultural and spiritual practices are renowned throughout both Indonesia and Southeast Asia, yet Banyuwangi seems quite content to conceal many of its cosmological practices, its spirituality and connected cultural and language dynamics. Here, a binary constructed by the national government between institutionalized religions (Hinduism, Islam and at times Chritianity) and the liminalized Animism, Kejawen, Ruwatan and the occult, supposedly leading to ‘witch hunts,’ have increased the cultural significance of Banyuwangi. Yet, the construction of this binary has intensifed the Osing community’s affiliation to religious spiritualistic heritage, ultimately encouraging the Osing community to stylize its religious and cultural symbolisms as an extensive set of sequenced annual rituals. The Osing community has spawned a culture of spirituality and religion, which in Geertz’s terms, is highly syncretic, thus reflexively complexifying the symbolisms of the community, and which continue to propagate their religion and heritage, be in internally. These practices materialize through a complex sequence of (approximately) twelve annual festivals, comprising performance and language in the form of dance, food, mantra, prayer, and song. The study employs a theory of frames (see work by Bateson, Goffman) to locate language and visual symbolisms, and to determine how these symbolisms function in context. This study and presentation draw on a several yaer ethnography of Banyuwangi, to provide an insight into the cultural and lingusitic symbolisms of the Osing people in Banyuwangi. The study first documets these sequenced rituals, to develop a map of the symbolic underpinnings of these annually sequenced highly performative rituals. Employing a symbolic interpretive framework, and including discourse analysis of both language and performance, the study utlimately presents that the Osing community continuously, that is, annually, reinvigorates its comples clustering of religious andn cultural symbols, which are layered and are in flux with overlapping narratives, such as heritage, the national poltical and the transnational.
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Guida, Francesco Ermanno, and Ernesto Voltaggio. "Programming Visual Representations. Evolutions of Visual Identities between Tangible and Intangible." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3334.
Повний текст джерелаАнотація:
The communication design field it's considerably changed in the last 20 years and more as well as the role of the designer. Technology has modified the daily work tools and new possible relations between the designer, the commitment and the final user can be underlined. Observing some of the most experimental practices, new visual languages have draw the attention, affected by innovative approaches and mixed competencies. The area of visual identities is especially of interest, not excluding other areas of experimentations.The phenomenon of the so-called dynamic or post-logo identities underlined the possibilities of using more fluid and expressive, variable, context related, processual, performative, non-linear, consistent visual languages instead of the usual and static repetition of a logo or an imposed series of rules (Felsing, 2010). But also their contradictions in making recognizable an organization and in the visual identity daily management.An interesting evolution to be underlined is in the use of the digital tools, not anymore in a passive way but in an active way. Visual designers can build their digital tools basing them on design and esthetic needs. Innovation is in the creative process, instead of in the final result, is in the “way to live our own creativeness” as affirmed precisely by Soddu (1998).The designer is not anymore just the user of ready-made digital tools, becoming himself programmer of customized digital toolboxes by using open source codes like Processing or VVVV or hardware like Arduino. This allows to affirm that visual designers are are becoming designer-producers (Bianchini & Maffei, 2012) too, as its happening for the colleagues of the product design field. Not just a DIY attitude but something that it's changing the control knobs of a design system in all its process and development. As far as technology support is relevant, technical matters are relegated in the background on behalf of abstraction and data parametrization that means on behalf of a meta-design level. The use of programming in creative and visual communication design processes “empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors” (Duro, Machado, Rebelo, 2012). The aim of this paper is to argue this recent evolution in the field of visual identities and in the wider area of communication design practices.DOI: http://dx.doi.org/10.4995/IFDP.2016.3334
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Paora, Tangaroa. "Applying a kaupapa Māori paradigm to researching takatāpui identities." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.179.
Повний текст джерелаАнотація:
In this practice-led doctoral thesis I adopt a Kaupapa Māori paradigm, where rangahau (gathering, grouping and forming, to create new knowledge and understanding), is grounded in a cultural perspective and Māori holistic worldview that is respectful of tikanga Māori (customs) and āhuatanga Māori (cultural practices). The case study that forms the focus of the presentation asks, “How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression”. In addressing this, the researcher is guided and upheld by five mātāpono (principles): He kanohi kitea (a face seen, is appreciated) Titiro, whakarongo, kōrero (looking, listening and speaking) Manaakitangata (sharing and hosting people, being generous) Kia tūpato (being cautious) Kāua e takahi i te mana o te tangata (avoiding trampling on the mana of participants). In connecting these principles and values that are innate within te ao Māori (Māori people and culture) the paper unpacks a distinctive approach taken to interviewing and photographing nine takatāpui tāne (Māori males whose sexuality and gender identification are non-heteronormative). These men’s narratives of experience form the cornerstone of the inquiry that has a research focus on tuakiritanga (identity) where performative expression and connectivity to Māori way of being, causes individuals to carry themselves in distinctive ways. The lived experience of being takatāpui within systems that are built to be exclusive and discriminatory is significant for such individuals as they struggle to reclaim a place of belonging within te ao Māori, re-Indigenise whakaaro (understanding), and tangatatanga (being the self). In discussing a specifically Māori approach to drawing the poetics of lived experience forward in images and text, the presentation considers cultural practices like kaitahi (sharing of food and space), kanohi ki te kanohi kōrero (face to face interviewing), and manaakitangata (hosting with respect and care). The paper then considers the implications of working with an artistic collaborator (photographer), who is not Māori and does not identify as takatāpui yet becomes part of an environment of trust and vulnerable expression. Finally, the paper discusses images surfacing from a series of photoshoots and interviews conducted between August 2021 and February 2023. Here my concern was with how a participant’s identitiy and perfomativity might be discussed when preparing for a photoshoot, and then reviewing images that had been taken. The process involved an initial interview about each person’s identitiy, then a reflection on images emanating from studio session. For the shoot, the participant initially dressed themseleves as the takatāpui tāne who ‘passed’ in the world and later as the takatāpui tāne who dwelt inside. For the researcher, the process of titiro, whakarongo, kōrero (observing, listening and recording what was spoken), resourced a subsequent creative writing exercise where works were composed from fragments of interviews. These poems along with the photographs and interviews, constituted portraits of how each person understood themself as a self-realising, proud, fluid and distinctive Māori individual.
Звіти організацій з теми "Performative work"
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Emmerson, Stephen. Modulations through time. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.530427.
Повний текст джерелаАнотація:
This article explores the rationale behind a performance given by the authors at the Unfolding the Process symposium held in Oslo in November 2015. For this occasion, the authors devised a new version of Bach’s Goldberg Variations that builds upon Emmerson’s arrangement of the work for two pianos in 2012. A shortened version of the work (c.30 minutes) was designed that aimed nonetheless to maintain the original work’s sense of structural balance and coherence. This version involved the transposition of a number of variations into different keys to explore the possibility of adding a satisfying tonal structure to our experience of the work, in a context where both performers see potential communicative value in 'playing with' dimensions of original masterworks with a view to giving fresh perspective to the listener experience. The article is written from the alternating perspectives of the authors; one of which is primarily concerned with the rationale and process of devising the arrangement while the other reflects upon the performative aspects and implications arising from it.
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Kim, Jiyoung, and Sejin Ha. The Effect of Retailer Perceived Isomorphism and Performative Action on Legitimacy, Word-Of-Mouth and Purchase Intention. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-505.
Повний текст джерела
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.
Повний текст джерелаАнотація:
Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.