1,721,002 research outputs found
LMYE Library #2: Ben Spatz - Making a Laboratory (2020)
No full textIn this oral introduction Ben Spatz talks us through the epistemological concerns and methodological discoveries found in their book Making a Laboratory: Dynamic Configurations with Transversal Video (New York: Punctum, 2020). This interview was recorded on 03.09.2020
Editorial
Get PDFThis is the editorial video essay for 'Journal of Embodied Research', Volume 1. It takes the form of a “talking head” video, attempting to balance the accessibility of social media with the scholarly rigour of a traditional journal editorial. Journal Editor Ben Spatz introduces the concept of the videographic scholarly journal and touches upon the history of audiovisual documents of embodied research across the twentieth century. After this brief overview of the form, Ben summarizes each of the four video articles included 'JER' 1.1 and invites submissions for the next volume
Between Death and Ceremony
Get PDFTracing matters of death and ceremony across black studies, indigenous studies, settler colonial studies, critical whiteness studies, and critical decolonial jewish studies, I find myself most interested in that other death, the preliminary death, which precedes biological death. This is not “social death,” the murder of kinship structures. Nor is it the death of the physical organism. This death is ceremonial, practical, and transformative. It is a kind of death practice, a daily practice of dying. Photo essay with images from the 2017 Judaica project embodied audiovisual laboratory: Ben Spatz with Nazlıhan Eda Erçin and Agnieszka Mendel
Towards a Queer Laboratory
No full textIn this essay, Ben Spatz offers practical suggestions and considerations for the implementation of a “queer laboratory”: an artistic research space that emphasizes and actively explores the circulation of powers, roles, and identities. These proposals are based on their own practice, which incorporates audiovisual embodied research as well as the critical theorization of embodiment and identity. Ben firstly describes their own journey in performance-based embodied research and shares how their genderqueer and other identities have led them to push against the edges of what currently counts as “performance.” In the next section, Ben shares a set of proposals for designing a queer laboratory—or “laboratory of powers”—in which gender and other identities can circulate across subject/object boundaries. The chapter closes with a consideration of the audiovisual body in the era of digital audiovisual networks
Massimiliano Balduzzi: Research in Physical Training for Performers
Get PDFThis essay begins the process of contextualizing and analyzing Massimiliano Balduzzi’s solo physical training practice by introducing six newly created video documents. It locates Balduzzi’s work in a wider historical and artistic context – touching upon the work of Konstantin Stanislavski, Jerzy Grotowski, and Eugenio Barba, as well as acrobatics, martial arts, and Balinese dance – while arguing that the documented physical training constitutes an original research contribution to the field of embodied technique. The essay has three main purposes: First, to give verbal articulation to some important aspects of Balduzzi’s practice, as he begins to teach more widely in New York City and beyond. Second, to test and develop a theoretical framework that conceives of embodied technique as a field of knowledge in which rigorously framed research can and does give rise to new knowledge in the form of new technique. Third, to explore the epistemological status of multimedia documentation through a focused case study. Each of these goals has the potential to expand and clarify current discussions of actor and performer training, movement analysis and documentation, and practice-as-research
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Race and the forms of knowledge : technique, identity, and place in artistic research /
No full text"Crafting a fluid yet critical new framework, explored via a series of case studies, including their own practice-as-research, Ben Spatz confronts hegemonic modes of white writing and white institutionality and examines alternative forms of knowledge"--Crafting a fluid yet critical new framework, explored via a series of case studies, including their own practice-as-research, Ben Spatz confronts hegemonic modes of white writing and white institutionality and examines alternative forms of knowledge""Crafting a fluid yet critical new framework, explored via a series of case studies, including their own practice-as-research, Ben Spatz confronts hegemonic modes of white writing and white institutionality and examines alternative forms of knowledge"--Includes bibliographical references and indexCrafting a fluid yet critical new framework, explored via a series of case studies, including their own practice-as-research, Ben Spatz confronts hegemonic modes of white writing and white institutionality and examines alternative forms of knowledge
Dreaming voice
No full textThis co-authored chapter between Ilona Krawczyk and Ben Spatz considers how post-Grotowskian training and performance practice – with an emphasis on voice and song – can be enhanced and enriched by an approach to process drawing on the work of Arnold Mindell. Extending Mindell’s concept of dreambody into what we call dreamvoice, we focus on the reciprocality of perception and expression in voicework and the potential to work creatively with unintentional as well as intentional vocal expressions. The chapter is structured as a dialogue between practitioner-researchers sharing their experiences with post-Grotowskian theatre companies in Poland, their current relationship as PhD researcher (Ilona) and supervisor (Ben) and their mutual interest in voice and movement. The first and third sections of the essay are written by Ilona, taking her doctoral research in embodied voice to trace Mindell’s processwork and the notions of dreambody and dreamvoice through case studies from her Practice as Research, focused on voice pedagogy. The second and fourth sections are written by Ben, reflecting on the place of somatics in the post-Grotowskian and exploring the inextricability of technique, identity and culture in even the smallest kernels of the voice
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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