Perfomance Studies Research Papers - Academia.edu (original) (raw)

Verona, Arena, Opera, perfomance, anthropology

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- Music, Opera, Perfomance Studies, ópera

Para la historiografía que se ha ocupado de la historia del cine español, la figura del explicador no ha pasado hasta ahora de ser poco más que un personaje citado en contadas ocasiones, casi siempre por protagonizado alguna anécdota curiosa o divertida. Fuera de nuestras fronteras, los autores que se han ocupado del tema suelen reconocer que todavía no se sabe demasiado sobre el explicador, y frecuentemente formulan sus opiniones sobre el mismo en forma de suposición. Lo cierto es que esta figura parece poseer cierto halo inaprensible. El carácter oral de su tarea y el hecho de que, en cierto sentido, cumpliera una función en la película desde una posición físicamente externa a la misma, justifican la carencia de un rastro fílmico o escrito generados por el propio explicador. Así que, a menudo, se tiene la impresión de que los datos recabados sobre él tan solo ayudan a fijar su contorno, eso sí, tan sugerente que promueve la elaboración de múltiples hipótesis sobre su auténtica personalidad y su trascendencia para la historia del cine.

- by Daniel Sánchez-Salas
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- Literature and cinema, Spanish Cinema, Hispanism, Early Cinema

”At du læser ”mig”, er selvfølgelig en hovedløs fortalelse, og i forlængelse heraf bør jeg nævne, at jeg ikke har fundet på det hele selv. Jeg har hugget sætninger fra adskillige andre tekster” (Bjørn Rasmussen, s. 90).
Forfatterbemærkningen stammer fra slutningen af Bjørn Rasmussens roman Huden er det elastiske hylster der omgiver hele legemet , og den cementerer en gang for alle, den fornemmelse læseren har haft under hele læsningen af værket; følelsen af at blive afvist, at værket simpelthen ikke vil lukke læseren ind – derind, hvor fortolkning og forståelse finder sted. Bemærkningen sætter fokus på den just læste tekst ved at nævne de stjålne sætninger – for hvilken betydning har det, at brudstykker af teksten ikke er Bjørn Rasmussens egne ord? Og hvorfor denne ublu opmærksomhed på teksttyveriet? Samtidig adresserer sætningen et du, som er en direkte henvendelse til læseren, men hvem er dette ”mig”, og hvorfor kan denne ikke læses?

- by Mia Bang Nedergaard
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- Danish Literature, Perfomance Studies

Much recent theatre has been interested in fudging the lines between truth and fiction. This article explores the overlap between recent trends that deconstruct our sense of what reality is and the parallel political problem that has been described as “post-truth”: the notion that, in the absence of a clear way of verifying what is objectively true, people can simply declare things to be true, regardless of the evidence that supports it.

- by Barry Freeman and +1
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- Canadian Theatre, Perfomance Studies, Theatre of the Real, Post-Truth

En este trabajo se aborda la complejidad del proceso creativo de un músico popular notorio. Con el fin de describir el entramado que supone actualmente este proceso en un disco de música popular y develar cómo se construye la "persona de la performance" de Joaquín Sabina en dos discos de su autoría, se recurre como estudios de caso a los testimonios de Benjamín Prado en su libro Romper una canción y a los de Sabina, Prado y otros músicos intervinientes en Incluso la verdad y al análisis de los discos Vinagre y Rosas y Lo niego todo. Palabras clave: Proceso creativo. Composición. Música popular. Experiencia.

- by Juliana Guerrero
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- Musicology, Popular Music Studies, Popular Music, Performance
- by Alberto Scandola
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- Television Studies, Acting, Perfomance Studies, Franco Zeffirelli

The article deals with public executions held in Warsaw in the years 1815-1830. Aside from describing each particular stage in the process of an execution, it also offers an analysis of the goal behind organising public executions by the authorities, as well as an analysis of the tools they used to achieve this goal. The text points to the theatrical form of public executions; it suggests they were performances of sorts, a theatre of justice. Therefore, it is vital to focus on the behaviour of actors performing in this theatre – the convict, the execu- tioner and the audience. Aside from the above-mentioned issues, the text con- cerns the theoretical side of death penalty, namely the penal law. It analyses the penal law at the turn of the 19th century, with particular attention paid to the content and the debate on the subject of death penalty prior to the estab- lishment of the Penal Code of the Kingdom of Poland in 1818, which became the legal basis at the period to which the article pertains.

- by Paweł M Mrowiński
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- History, Eastern European Studies, Death Studies, Death Penalty

Against Cartesian dualism and in line with the general twentieth century rediscovery of body and perception, this paper aims to examine the role of senses for the performer, as presented by Richard Schechner’s theory of performance. Such a theory finds its legitimacy in the pages of the philosopher Merleau-Ponty, and in the priority the philosopher assigned to perception and senses as sources of knowledge, as well as opening of consciousness to the world.

- by Rania Milona
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- Anthropology of Music, Subcultures, Habitus, Punk Culture
- by Nhamo A Mhiripiri
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- Visual Anthropology, Film, Tourism, Perfomance Studies

Que peut un corps ? C’est cette question, qui a intrigué les plus grands philosophes au cours des siècles (de Spinoza à Deleuze et bien d’autres) que cet article se propose de reprendre à nouveaux frais ; en un temps où certains prophètes des biotechnologies nous promettent une vie toute puissante et éternelle. Pour ce faire, il part de l’analyse de quelques figures de l’art tout particulièrement paradigmatiques de Stelarc à Harbisson ou Ribas, habiles à mettre en scène et abyme le devenir-cyborg de notre temps.

- by Giorgio Cipolletta
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- Cyborg Theory, Anthropology of the Body, The Body, Body Image

Attending to race has become essential in ethnomusicology at least since publication of Music and the Racial Imagination (2000). And what sort of musical performance could be more imaginary than air guitar? Competitive air guitarists realized long before scholars that their art form provided an ideal means by which to contest the overwhelming whiteness of rock and electric guitar, sometimes extending their critique to include gender as well. Asian and Asian American competitors in particular used their one-minute stage performances to comment ironically on the emasculation of Asian males and the infantilization of Asian females through the construct of " Asian fury. " Based on field research in Germany, Finland, and the United States since 2009, this article argues that air guitar performance has helped certain audiences to reimagine the linkages between race and rock. A ttending to race has become essential in ethnomusicology at least since publication of Radano and Bohlman's Music and the Racial Imagination in 2000. And what sort of musical performance could be more imaginary than air guitar? Besides being a time-honored way through which fans relate to and even come to embody rock music, air guitar also provides an ideal lens through which to view the role of the body in musical performance, precisely because the physical presence of a musical instrument has been removed from the picture. Staged, competitive air guitar focuses both performers' and viewers' attention on bodily attributes including gender and race, as well as on all those aspects of musical performance that are not part of sound production yet are equally meaningful: facial expression, attire, and bodily movement among them. Competitive air guitarists realized long before scholars that their art form provided an ideal means by which to contest the overwhelming whiteness of rock and electric guitar, sometimes extending their critique to include gender as well. Asian and Asian American competitors in particular used their one- minute stage performances to comment ironically on the emasculation of Asian males and the infantilization of Asian females through the construct of “Asian fury.” Based on field research in Germany, Finland, and the United States since 2009, this article argues that air guitar performance has helped certain audiences to reimagine the linkages between race and rock.
JSTOR link: http://www.jstor.org/stable/10.5406/ethnomusicology.60.3.0411

- by Sydney Hutchinson
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- Popular Music, Ethnomusicology, Asian American Studies, Body in Performance

Seven multi-searcher agents —Copernic, EZSearch, MataHari, iMine, WebSeeker, WebFerret and WebStorm— are compared measuring precision, recall and response time on the first twenty results returned for fifteen queries. All search engines were done on August 21th, 1999. Acomparative study of the two top agents of this paper with HotBot and AltaVista shows the advantages of the intelligent agents multi-seacher in relationshipwith the current search engines

- by Pedro Hipola
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- Evaluation, Intelligent Agents, Perfomance Studies, Recall

En este artículo se analizan los espectáculos del grupo Les Luthiers a partir del marco conceptual desarrollado en los estudios de performance. Desde esta perspectiva, se conciben sus presentaciones como fenómenos comunicativos, como instancias reflexivas y como procesos creativos, en los que el acto de hacer música es distinto al de hacer humor-música.

- by Juliana Guerrero
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- Music, Musicology, Humor, Performance Studies (Music)
- by juerg luedi
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- Installation Art, Ritual, Performance Art, New Media Performance and Installation

An essay to be included in the book project, Bulgarian Dance in Migration.

- by Daniela Ivanova-Nyberg
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- Cultural Studies, Cultural Heritage, Ritual, Anthropology Of Dance

The present article aims to develop an approach to musical meaning that integrates performative dimensions systematically into a broadened concept of analysis, connecting particularly to recent research into the temporal qualities of musical perception. Taking three key works from the solo cello repertoire of the 1960s and ’70s – Helmut Lachenmann's Pression, Iannis Xenakis's Nomos Alpha and Brian Ferneyhough's Time and Motion Study II – as a basic corpus of study, this ‘morphosyntactic’ view of sound structure is complemented with a comparison of different recordings of these three works by interpreting software-based collections of data of timing and tempo as well as close listening, in addition to documentation of the composers’ and performers’ conceptions of time and tempo. The analyses propose an interaction of three different categories of form-building time-space concepts that are deeply embedded in the history of music theory and aesthetics: ‘spatial time’, ‘processual time’ and ‘presentist time’. Performers may shift between or merge these three archetypes by varying temporal and dynamic consistency or contrast, among other means. The performance-related data are compared with the perspectives of performers and composers, corroborating the space of ‘informed intuition’ even in the performance of these very prescriptively notated scores and demonstrating on multiple levels the continuous impact of ‘rhetorical’ performance traditions (despite or within their compositional deconstruction) in the music of the postwar and contemporary avant-garde.

- by Christian Utz
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- Music Psychology, Time Perception, Music Perception, Music analysis

This dissertation theorizes expressive sound in piano performance. It views the act of obtaining a desired sound as an act of subtly adjusting to continually changing conditions of sound production. It takes a performer's perspective, focusing on the personal experience of sound, as it is being created in performance. The sound of a piano performance is continually evolving, contingent on the acoustic environment, the characteristics of an instrument, and other circumstantial factors with which a pianist works in performance. Although the focus is on real-time performing experience, in the act of any particular performance, a pianist relies on robust previous experience. This dissertation particularly considers the dynamic, interactive loop of the conception, the making, and the hearing of sound in piano performance. The continued re-enaction of this loop is considered as grounding a specifically pianistic cognitive ability which draws on both the haptic and auditory experience of sound at the piano. My approach to piano playing is rooted in work in critical ethnography as well as theories of cognitive function. These two seemingly disparate areas of enquiry share important common ground in their treatment of conceptualization and experience as mutually definitive. An underlying theme throughout this research is the dynamic interplay between theoretical understanding and lived experience. The focus, however, is consistently on piano playing, seen as the act of engendering artistically charged sound through the interaction with a complex and versatile musical instrument, the acoustics of sound and space, and the expressive possibilities of personal experience.

- by Victoria Tzotzkova
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- Cognitive Psychology, Ethnography, Cognition, Autoethnography

O presente trabalho analisa como o documentário 33, do diretor Kiko Goifman, utiliza recursos autobiográficos em sua escritura. A análise é feita a partir da decupagem das principais cenas do documentário performático de Kiko e da verificação dos meios que ele utiliza para convocar o espectador, como a exibição de um aspecto da vida particular do diretor, fato que foge à uma tradição documental de objetividade do discurso; o suspense criado por cenas de procura e descobertas e a cumplicidade criada com o diretor diante de uma produção feita durante sua procura
pela mãe biológica.

- by Erika C. Dias Nogueira (PhD)
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- Estética, Perfomance Studies, Subjetividade, Documentário

Polish culture is based on a peculiar paradox. Our tradition and historical consciousness are rich in rituals and martyrs, yet they function in a mythological vacuum, as there has been no elaborate system of myths to help us understand these ceremonies and sacrifices. Since we have traditionally claimed the Mediterranean civilisation as the source of our own culture, for many centuries we have also been relying on ancient Greek myths, albeit in the form passed on to us by the Romans. There was a time when many educated Poles were bilingual, and their Latin was better than Polish. Throughout our history, as we were losing our independence, ancient Greek myths, told again and again, lent us strength to survive and gave a meaning to our struggles. They ultimately became an integral part of our identity. In order to show how an ancient myth can be used as a device in constructing modern identity, I will look at the work of three Polish theatre artists.

- by Mirek Kocur
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- Performing Arts, Jerzy Grotowski, Perfomance Studies

En este trabajo se analizan las características de la obra de Ridiculum Vitae, grupo que se inscribe dentro de la escena argentina entre aquellos que combinan la música y el teatro con fines humorísticos. Para llevar a cabo esa tarea, se revisan los cambios del texto musical, las transformaciones producidas en el pasaje del guión a la performance, a partir del planteo teórico desarrollado por R. Schechner. Luego se consideran los distintos enfoques propuestos acerca de la noción de género a fin de determinar qué elementos son manipulados por el grupo para interpelar al oyente en la identificación de cada género musical. Posteriormente, el foco de análisis se extiende a la grabación con la intención de determinar las diferencias entre la puesta en escena en vivo y la grabación. Por último se examinan elementos accesorios y la planta escénica con el objetivo de estudiar cómo intervienen y condicionan la performance.

- by Juliana Guerrero
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- Music, Ethnomusicology, Humor, Genre
- by Thiago Aguiar
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- Perfomance Studies

The task of the actor has long been a subject of scepticism, and often scorn, accused of being not real work: either it is ‘not real’, in that it is only pretending or simulation, or it is ‘not work’, in that it is merely the pursuit of pleasure. But in thinking through its own work, theatre can also help us to think through how work is understood and valued in culture more broadly. In this chapter I focus on two moments in which theatre seems to have been particularly interested in its relationship to work, and in which, by turn, we can track the changing nature of work itself. In the 1960s and 1970s, performance artists turned to ‘task-like’ or ‘work-like’ performance as a way to bring everyday reality to the theatrical event—and, by extension, as a remedy to the way in which wider culture was perceived as increasingly alienating and ‘theatricalized.’ Here the apparent ‘realness’ and ‘authenticity’ of work-like performance is positioned in contrast to the increasing alienation and disembodiment of everyday life. But in subsequent decades, the nature of work itself has undergone a gradual but irreversible shift, such that its paradigmatic figure is no longer the factory worker (or the craftsperson), but instead the service provider, who is a kind of ‘emotional labourer’ whose work is very similar to that of the actor. Here again, new forms of theatre, such as immersive and one-to-one theatre, emerge as a challenge to the theatricality of everyday life. I explore these themes through a comparison of how two artists from very different periods, Yvonne Rainer in the 1960s and Adrian Howells in the 2000s, used their creative practice to think through questions of work, alienation, and everyday life.

- by Theron Schmidt
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- Theatre Studies, Immaterial Labour, Work and Labour, Acting
- by Tom McGlynn
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- Real Estate, New York history, Social Sculpture, Perfomance Studies
- by Blanca Montalvo
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- Art History, Contemporary Art, Theatre, Film

Vor dem Hintergrund gegenwärtiger Migrationsbewegungen nimmt dieses interdisziplinäre Symposium, das wissenschaftliche Perspektiven, NGO-Vertreterinnen und -Vertreter sowie Kunstschaffende zusammenbringt, Erfahrungen von Fremdheit und Grenzvorstellungen in den Blick.
An der Erfahrung ‚des Fremden‘, das einem laut dem Theaterwissenschaftler Günther Heeg nicht in fernen Ländern und Kulturen begegnet, sondern im Inneren der vermeintlichen Eigenen, entzünden sich transkulturelle Theaterpraktiken. Wird demnach unter einer Grenze die durch eine Trennlinie oder eine Trennfläche ermittelte Abgrenzung zwischen Fremdem und Eigenem verstanden, so vermittelt die Idee einer Grenze nicht nur die Begrenzung und den Schutz von Räumen (vor Fremden). Zugleich weisen bestimmte Verhaltensformen von Menschen Grenzen auf. Bezogen auf Migrationsphänomene macht das Grenzverständnis aus allen Menschen Fliehende: Während die einen vor unerträglichen Lebensumständen in ihren Herkunftsorten fliehen und geographische Grenzen überschreiten, fliehen die anderen vor den Grenzen eigener Verantwortung und Handlungsmöglichkeit. Aufgrund der gegenwärtig rasant wachsenden Migrationsbewegungen sowie der damit einhergehenden Fremdheitserfahrung weist somit das jeweilige Verständnis von Grenzen und Fliehenden eine Doppelartikulation auf, die dieses interdisziplinäre Symposium in den Mittelpunkt rückt.

- by Koku G. Nonoa
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- Performing Arts, Postdramatic theatre, Migration, Perfomance Studies
- by Stuart A Day
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- Neoliberalism, Mexican Politics, Mexico, Perfomance Studies

Macbeth is the tragedy of desire. Lady Macbeth’s identity is a fiction of closure, namely a metonymic part that cannot represent the whole, the predetermined complexity with which being coincides with its subjectuality, made even more evident by the non-allocation of a name from the author. Being of Lady Macbeth is an aporia that says the true, because it built on an identification of opposites and destined inevitably to death to get a resolution of the internal conflict that embodies.

- by Ester Fuoco
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- Shakespeare, Perfomance Studies, Lady Macbeth

Centrándonos en el drama social desencadenado a partir de la exposición retrospectiva del artista plástico León Ferrari (1920 - 2013) en el Centro Cultural Recoleta de la Ciudad de Buenos Aires a fines de 2004, el trabajo problematiza las relaciones entre representaciones artísticas, sensibilidades religiosas y esfera pública en la Argentina contemporánea. El análisis indaga la arena social de agentes, representaciones, prácticas y escenarios que protagonizaron el evento con miras a comprender los comportamientos y discursos sociales expresados por los bandos en conflicto. Uno de ellos exigió in situ el cierre de la muestra por sus contenidos blasfemos y agresivos a la fe católica, el otro defendió la libertad de expresión artística y la irrestricta continuidad de la exposición. Ambos colectivos se movilizaron públicamente a favor o en contra de la muestra. Desde una pragmática cultural, el estudio propone atender a los significados socialmente definidos en situaciones concretas, donde se enunciaron posicionamientos religiosos, ideológicos ypolíticos insertos en un repertorio mayor de representaciones colectivas, guiones culturales y categorías morales (re)creadas en la acción práctica. La lectura en clave de performance social apunta a comprender los motivos que guiaron las acciones de ambos grupos, sus estrategias, escenarios yeficacias en la contienda. A partir del evento crítico se discute los modos en que se definieron distintos puntos de vista sobre el poder de las imágenes artísticas, los usos legítimos del espacio público, la libertad religiosa y la libertad de expresión.

- by César Ceriani
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- Cultural Studies, Sociology of Religion, Anthropology, Visual Studies

Abstract:
This article explores the intersections between the dance, biblical studies and performance praxis. It articulates the possible kinds of knowledge(s) that are at the intersection between movement as a performance practice and biblical research. By looking at Adrian Howells’s work Foot Washing For The Sole (2009) as a prototype for Kinaesthetic Hermeneutics, this exploration suggests that Howells’s embodied reading of Luke 7:37–83 provides a methodology for interpreting scripture through the body. This article ultimately seeks to answer the question can the body be a site for biblical exegesis?

- by Christopher-Rasheem McMillan
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- Dance Studies, Choreography, Biblical Studies, Theology and the Arts

Overlapping between Science of Education and tightrope walking. Our research aims to investigate the possibility of contaminating education and tightrope walking. Supporting the idea that education should favor the vital balance for each human being and considering tightrope walking as one of the best examples of balance research, the paper tries to analyze and understand the tightrope walker's self-training. In fact, we have chosen to study this topic as a peculiar educational experience, considering balance a target for every educational process. The tightrope walking experience is as intense, condensed and special as any other performing art. This experience must be supported by the cognitive faculty of imagination, because the tightrope walker is led by an insane dream, that of connecting something that is naturally detached. The power of imagination has to guide his walking across the empty space, as he would be walking across life and death. In the same way, education has an impact at an important stage of life and has to be balanced in order to guide every human being.

RESUMEN Un análisis de la representación de los varones en el cine cubano de ficción de la década de los 90 del pasado siglo, son el sitio para vislumbrar las claves como el séptimo arte de la isla narra también desde el género. La vivencia de una profunda crisis económica durante estos años es el punto de partida para analizar como los modelos tradicionales de encarnar la masculinidad son puestos en condicionamientos desde la práctica social, sin que el cine sea un sitio ajeno para su representación. De esta manera el corpus de películas analizadas indican cómo algunas representaciones de la masculinidad y las masculinidades tratan de afianzar algunos elementos, mientras otros son puestos en cuestionamientos desde un discurso fílmico que subvierte, cuestiona y critica. Palabras clave: cine cubano, representación, género, masculinidades, Cuba, década de los noventa. ABSTRACT An analysis of Cuban male representation in fiction Cuban cinema during 1990´s allows understanding in how Cuban filmography narrates from a gender perspective. A deep economic crisis during that time serves as a starting point from where to determine how traditional patterns of developing masculine roles are conditioned by society. In consequence, the filmic corpus included shows how manliness is represented stressing only some of its elements while others are questioned by filmic discourse that subverts, inquires and criticizes.

- by Reinier Barrios Mesa
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- Cuban Studies, Gender and Sexuality, Cinema Studies, Perfomance Studies

Ülkemizde doğa afetlerinin sık olarak yaşandığı bilinen bir gerçektir. Yaşanan doğa afetleri sırasında çok sayıda kişi yaşamını yitirmekte ve ekonomik açıdan önemli kayıplar yaşanabilmektedir. Bu duruma bağlı olarak yaşanan afetlere doğru ve etkin bir şekilde müdahale edilip edilmediğinin tartışmalarının sürekli yaşandığına şahit olunmaktadır. Söz konusu doğa afetlerinin meydana gelmesi sonucu önemli kayıpların yaşanması ve akabinde görülen ciddi tartışmalar etkin bir afete müdahale sistemini zorunlu kılmıştır. Bu sistem içerisinde hiç şüphe yok ki arama ve kurtarma örgütlerine önemli görev ve sorumluluklar düşmektedir. Bu örgütlerde görev alan personelin başarı düzeylerini etkileyecek faktörlerin ortaya konulabilmesi, afete müdahalede başarı düzeyini ve dolaysıyla kurtarılan can sayısını pozitif etkileyebileceğinden önemli olduğu ileri sürülebilir.
Bu araştırma Erzurum Afet ve Acil Durum Arama ve Kurtarma Birliği personelinin tatmin düzeyleri ile başarı algıları arasındaki karşılıklı ilişkinin ölçülmesi amaçlanmıştır. Araştırma için seçilen söz konusu Birlik Türkiye’de halen görev yapmakta olan, AFAD’a bağlı 11 birlikten birisidir. Araştırma bulgusuna göre personelin tatmin düzeyleri ile başarı algıları arasında anlamlı bir ilişki söz konusudur. Araştırmada işgören tatmini ile başarı algısının alt boyutlarının karşılıklı etkileri ölçülerek, analiz edilmiştir. Söz konusu analizler sonucunda önemli bulgular ortaya konulmuştur.

- by Hikmet Akyol
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- Perfomance Studies, Performans Göstergeleri, Iş Tatmini, Doğal Afetler

The symbolic representation of identity in traditional musical contexts is achieved through the activation of performers’ behaviour gathering in a group, by means of performative processes typical of ‘musicking’ (e.g. ‘know how to make music together’). Two case studies are presented to explore the power of emotional representation, by employing ‘heterophonic melodies of homophonic ideas’ (Cretan rizìtiko), or a traditional polyphonic language (Zakynthian arekies), respectively. In either case, performers show common psychological conditions through the search for a ‘collective resonance’.

- by Giuseppe Sanfratello
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- Ethnomusicology, Music and Emotions, Traditional Music, Perfomance Studies

Il Convegno internazionale intende indagare le forme e le funzioni dello spazio sacro per meglio comprendere, nel loro contesto, le opere artistiche. Per questa ragione le due giornate di studio intendono portare nuovi contributi sull'uso e l'organizzazione dello spazio nelle chiese cattedrali, negli edifici monastici e in quelli degli ordini mendicanti. Recuperare attraverso la rilettura delle fonti dove si trovavano dipinti, sculture, suppellettili liturgiche, in che modo questi erano usati nei diversi momenti della celebrazione liturgica, aiuta a restituire, almeno idealmente, come si presentava in realtà un edificio medievale, che appare oggi spesso ridotto alle sue sole linee architettoniche. Presupposti tecnico-costruttivi, funzioni, necessità cultuali, vita comunitaria e pellegrinaggi sono solo alcuni degli aspetti fondamentali nella "rappresentazione" dello spazio del sacro che trovano il loro fulcro nella concreta realizzazione di opere. Queste ultime sono intese come "vettori", reciproche connessioni nello spazio, concepito non in senso astratto, ma come forza centripeta in cui il divino si manifesta con i segni tangibili dell'arte in età medievale.

- by Luca Capriotti and +1
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- Medieval Art, Pilgrimage and Art, Perfomance Studies
- by GLAUCO BATISTA FERREIRA
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- Anthropology, Performing Arts, Art, Queer Theory

As artes, principalmente as artes do espetáculo, prezam por um bem incomensurável da humanidade, o convívio entre pessoas, pois é a partir do convívio que nos comunicamos, sentimos a vontade de transmitir uma mensagem, afetar o outro e ser afetado, compartilhar ideias, amar e ser amado e assim construir o significado da nossa realidade social e subjetiva, uma sempre ancorada na outra.

- by Herbert Silva Leão
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- Mise-En-Scène, Perfomance Studies, Teatro, Poéticas Artísticas

This paper will address the issue that great philosophers – from Spinoza1 to Deleuze2 to many others – have puzzled over for centuries: What can a body do?
Art has long questioned its status in relation to modern technologies in order to understand the importance of new and varied corporeal dimensions: from Ballard’s sci-fi literature to Cronenberg’s films; from Artaud’s Body without Organs3 (CSO) to Philip K. Dick’s Do Androids Dream of Electric Sheep?, from science-fiction Real Humans to Black Mirror, passing through all the various forms of Body Art; from Orlan’s aesthetics and bio-political practices, to Sterlac’s contamination between flesh and technology, up to Jaron Lanier’s virtual reality. Artists have investigated the meaning of new existential dimensions adopting plural and innovative means and media, and elaborating meta-narratives of bodies and changing identities. Aesthetics – as the science of sensory knowledge – must take into account and analyze this new social and artistic reality.