114 research outputs found
Performativities, Virtualities, Abstractions, and Cunningham's BIPED
No full textThis thesis explores the complex relations between subjective perception and dance movements, mainly exemplified by drawing on two short extracts from Merce Cunningham's choreography BIPED (1999). The central aim of the study is to formulate a performative phenomenological inquiry, which moves beyond an identification of essences, and towards an understanding of the lived experience of a dance performance as being grounded on iterations of the "abstract". The concept of the abstract primarily signifies an alternative mode of understanding Henry Bergson's notion of duration. Considering Gilles Deleuze's reading of Bergson's intuition as a method to divide the experience of a lived present into a temporal difference in kind between the virtual and the actual, this thesis suggests a complementary division of duration into virtual and actual kinds of abstraction.
In addition to Bergson's method of intuition, the discussion is phenomenologically rooted in Maurice Merleau-Ponty's concept of the body image and Gaston Bachelards idea of non-causal reverberation. As with the case of intuition, those phenomenological concepts are applied unconventionally. Rather than serving as a pre-objective ontological basis for an analytical and scientific understanding of subjective embodiment, the notion of a reverberating body image is here treated as a form of mimesis, performatively constituted through symbolic and representational practices. Hence, in phenomenological terms, the rationale of the thesis is predominantly sustained by the philosophy of Ernst Cassirer, arguing that reality cannot be approached directly, but only through the concept of the symbol.
The viewpoint from where I speak has performative cybernetic characteristics, continuously and dynamically transgressing boundaries and reconstituting itself through iterative and citational practices. Additionally, as I move between the analytical and the intuitive, as well as between the virtual and the actual, the formal structure of the thesis corresponds to a liminal transformation of the speaking subjectivity
Merce Cunningham and his Technique
No full textThis thesis approaches the personal life, artistic creation and dance technique of American dancer and choreographer Mercier Philip Cunningham. The first part focuses on the artist?s life stages during his evolution in dance from the beginnings of his choreographic work, and seeks the origins for the establishment of his own dance company ? Merce Cunningham Dance Company. A chronological overview of his extensive repertoire is also incorporated. The second part deals with collaboration, connection and interaction among the dance, music, design and film fields during the artistic work of Merce Cunningham. Following the author?s experience with Cunningham technique, the final part is directed to an understanding of this dance technique, its principles and specific elements used in contemporary dance world
Energy Geared to an Intensity High Enough to Melt Steel: Merce Cunningham, Movement, and Motion Capture
No full textThe paper is concerned with the relation between everyday human social conditioning and the specialized skills demanded by choreography. Exploring the choreographic methods of Merce Cunningham, the author shows how choreography requires an entrainment of the body that mirrors modes of corporeal socialization while deviating in significant ways from the conditioning normally received. Cunningham works with constraints that have little to do with social convention, but that remain historical insofar as they reflect the technological conditions of a particular era. In the paper, his methods are traced from the inception of chance operations to the employment of Life Forms and the software-aided creative process
Shape Persistence in Elicited Subjective Crop Yield Probability Density Functions
No full textThe shape persistence of a crop yield probability density function (PDF) was studied by using two variants of the Visual Impact Method (VIM) to elicit subjective estimations by farmers. In one variant ten weights were used to describe the PDF and in the other variant the farmer chose the number of weights. Results were compared directly and by means of Weibull distributions fitting, with evidence being obtained in favor of methodological persistence and the equivalence of the two estimation methods.Subjective crop yield PDF elicitation, Visual impact method, Methodological persistence, Crop Production/Industries,
Iosephina euangelica literal y mistica de las excelencias y prerrogatiuas del glorioso Patriarca S. Ioseph esposo de la Virgen Nuestra Señora
No full textColofónSign.: [ ]\p3\s, 2[calderón]\p5\s, A-Z\p4\s, 2A-2P\p4\sPort. con esc. de la Orden de la Merce
Review Of Dancing Lives: Five Female Dancers From The Ballet D\u27Action To Merce Cunningham By K. Eliot
No full textDrawing on significant library research and on paintings, photographs, poems, videotapes, and interviews, Eliot (Ohio State Univ.; former member, Merce Cunningham Dance Company) offers portraits of Giovanna Baccelli, Adele Dumilatre, Tamara Karsavina, Moira Shearer, and Catherine Kerr. In looking at these five dancers, Eliot describes an arc regarding female dancing in the Western theatrical context from the 1700s through the early 21st century. Situating each woman and her dance career within a specific cultural context, the author investigates economic, political, and social factors impacting each dancer\u27s development, life as a professional, and legacy. Looking to related work--Rethinking the Sylph: New Perspectives on the Romantic Ballet, ed. by Lynn Garafola (CH, Jul\u2798, 35-6158) and Sally Banes\u27s outstanding Dancing Women: Female Bodies on Stage (CH, Nov\u2798, 36-1503)--the author emphasizes the kinesthetic experiences of her subjects and their centrality to the dance-making process of various choreographers. Her account links the five performers\u27 experiences by exploring the actual physical work (the embodied practice) of each woman\u27s dancing. This accessible resource offers less experienced scholars of dance easy entry into studying dance as cultural history. Summing Up: Recommended. Undergraduates through faculty
Post 1990s Dance Theatre and (the idea of) the Neutral
No full textPhDThe thesis focuses on the concept of neutrality in the works of contemporary
European (post 1990s) choreographers. While broad ideas around neutrality are
considered, the thesis primarily engages with Roland Barthes’ definition of
neutrality as a structural term: 'every inflection that, dodging or baffling the
paradigmatic, oppositional structure of meaning, aims at the suspension of the
conflictual basis of discourse'. I argue that the minimalist work of Judson
Church, New York City, is anticipating the interest in the neutral that will more
strongly formulate itself in dance theatre after the 1990s. In the first chapter on
Jérôme Bel, the concept of neutrality is introduced as a general idea, together with
its inherent problem. The 'problem' is not that this or that element that Bel
chooses cannot be perceived as neutral, but that neutral or stage zero can never be
neutral enough. The second chapter, dedicated to the work of Thomas Lehmen,
explores the idea of 'neutralization' in relation to the notion of the self in
Lehmen's performance, where 'It is not I or you who lives: 'one' (une vie) lives in
us' (P. Hallward). In the third chapter I argue that in Raimund Hoghe’s
performances, love is conceived essentially as a balance between narcissism and
pure object-love – as a neutral state. The fourth chapter, on Croatia’s BADco.,
gravitates around the ways in which group processes function, arguing that the
idea of the neutral is located in the ‘invisible hand’ of emergence. The thesis shifts
academic performance analysis towards a more concept-based approach,
unpicking and/or constructing timeless, abstract and broad concepts and ideas that
the work of these choreographers resonates with
Review Of Rhythmic Subjects: Uses Of Energy In The Dances Of Mary Wigman, Martha Graham, And Merce Cunningham By D. Reynolds
No full textOffering a fresh perspective on the concept of kinesthetic imagination and developments in modern and postmodern dance, Reynolds (Univ. of Manchester, UK) analyzes energy use in the works of pivotal choreographers Mary Wigman, Martha Graham, and Merce Cunningham. Her interdisciplinary approach employs Laban\u27s effort/shape system describing dancers\u27 energy use in relation to the micro reality of choreographic imperatives and the macro reality of sociocultural contexts. Chapters explore the ways these choreographers\u27 uses of energy engendered specific dances and also reflected and critiqued the broader historical and ideological circumstances in which they choreographed. In discussing particular dances, the author builds bridges from her analyses to the ideas of such writers as Michel Foucault, Jacques Derrida, Georges Bataille, and Julia Kristeva. A significant strength of the book is the dialogue it maintains between close readings based on the author\u27s personal viewing of individual dances and broader commentary reflective of the writings of dance critics, poststructuralists, and relevant phenomenologists. Including extensive notes and a useful bibliography, this is a book for those interested in dance or culture, gender, or performance studies. Summing Up: Recommended. Graduate students, researchers, faculty, and professionals
Sul concetto giuridico di Lavoro fra merce e persona
No full textThe essay is devoted at one of the fundamental values of labor law:
the freedom of the person in the employment contract. To this end, the
author raises a preliminary methodological question. He considers it necessary
to critically analyze the labor law crisis and the question of the labor
law values taking into account the historical and material nature of
the legal systems. The author proposes to read the principle “work is not
a commodity” by accepting the exchange function of the contract. On
this basis, the author raises the question of the dangers for workers freedom
inherent in the rhetoric of neo-liberal freedom
Elizabeth Goldberg and Adelia Ruiz present on author Merce Rodoreda
No full textWomen\u27s Studies Student Conference 2002https://digitalcommons.fiu.edu/cwgs_images/1034/thumbnail.jp
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