Choreographic Objects: traces and artifacts of physical intelligence

编排对象：身体智能的痕迹和文物

• 批准号: AH/G000840/1
• 负责人: James Leach
• 金额: $ 1.58万
• 依托单位: University of Aberdeen
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FG000840%2F1
• 关键词: Choreographic; Objects; traces; artifacts; physical

The focus of these workshops will be four unique interdisciplinary research projects initiated by established contemporary choreographers Wayne McGregor, Siobhan Davies, William Forsythe and Emio Greco PC (Pieter C. Scholten). These choreographers are internationally recognised for their contribution to the field of contemporary dance. In addition to live performances for an audience, the choreographers and their associated organisations have independently begun to explore the potential of interactive digital media and related technologies to document, represent, transmit and disseminate aspects of their artistic practice. The varieties of information-rich resources they have created (including on-line interactive scores, digital dance archives, choreographic software agents and real-time training simulations) will constitute the choreographic objects that this project investigates.Choreography gains its primary cultural value from the performance of dance, which an audience experiences as a live time-based artwork. The socio-cultural value of contemporary dance is largely evaluated on the strength of this transitory event. To date, recordings of any aspect of dance creation or performance have been perceived to be of less value, due to their inherent 'lack' of a living ephemeral presence. This lends an inherent tension to any project that aims to produce valuable cultural objects, rich in choreographic or dance information, that exist outside the process of live performance. However the choreographers are committed to the vision that the future of dance requires such cultural objects to be created in order to further the understanding and evolution of dance as an art form. Emerging from this are a new set of claims for dance and dance making: that it is 'knowledge producing', and that knowledge has value to both other choreographers, and a wider field. What has never been systematically explored are questions such as 'what is it that dancers 'know' and how might this knowledge be captured and made a resource for researchers in other fields, as well as for further dance making?' The emergence of this current conception of dance in relation to 'knowledge' also raises new questions -- what does being recognised as 'knowledge producing' do to dance making and what kinds of ancillary object might count as knowledge for other disciplines?In the framework of Beyond Text, we will bring these four research projects together in the same investigative context in order to engage theories of knowledge production and knowledge transfer with a group of established social science researchers who specialise in how knowledge is acquired and transmitted as a social process, how knowledge comes to be embodied in transactable forms (objects), and how others make use of and translate that value for their own projects. This will be accomplished by a series of three workshops.TIMETABLE:First session Making and Design: The choreographers and/ or members of their research teams will present the 'choreographic objects' they are in the process of creating and outline what information (or knowledge) these objects make available. They will be investigated using contemporary theoretical approaches in the social sciences.Second session Translation, Transmission and Exchange: The choreographers and/ or members of their research teams will present the dissemination pathways along which these objects are intended to travel including what audiences they are intended to reach and how access is facilitated. Third session Additions and Future Research: We will review and summarize what reflections, innovations and modifications might increase the value and richness of the choreographic resources for the interdisciplinary audience/readership for which they are intended. A public seminar at Sadlers Wells Theatre will be held to make the research to accessible immediately.

这些研讨会的重点将是四个独特的跨学科研究项目，由建立当代编舞韦恩麦格雷戈，西沃恩戴维斯，威廉福赛斯和格雷科PC（彼得C。Scholten）。这些编舞家因其对当代舞蹈领域的贡献而受到国际认可。除了为观众进行现场表演外，编舞者及其相关组织还独立地开始探索互动数字媒体和相关技术的潜力，以记录，表现，传播和传播他们的艺术实践。他们所创造的各种信息丰富的资源（包括在线互动乐谱、数字舞蹈档案、编舞软件代理和实时训练模拟）将构成本项目所研究的编舞对象。编舞的主要文化价值来自舞蹈的表演，观众将舞蹈体验为一种基于时间的艺术品。当代舞蹈的社会文化价值在很大程度上是根据这一短暂事件的力量来评估的。到目前为止，舞蹈创作或表演的任何方面的记录都被认为价值不大，因为它们固有的“缺乏”生命短暂的存在。这给任何旨在制作有价值的文化物品的项目带来了内在的张力，这些物品富含舞蹈或舞蹈信息，存在于现场表演过程之外。然而，编舞者致力于这样一个愿景，即舞蹈的未来需要创造这样的文化对象，以进一步理解和发展舞蹈作为一种艺术形式。由此产生了一套新的舞蹈和舞蹈制作的主张：它是“知识生产”，知识对其他编舞者和更广泛的领域都有价值。什么是从来没有被系统地探讨的问题，如'它是什么，舞者'知道'，以及如何可能这些知识被捕获，并作出资源的研究人员在其他领域，以及进一步的舞蹈制作？这种与“知识”相关的舞蹈概念的出现也提出了新的问题--被承认为“知识生产”对舞蹈制作有什么影响，以及什么样的辅助对象可以算作其他学科的知识？在超越文本的框架内，我们将把这四个研究项目放在同一个调查背景下，以使知识生产和知识转移的理论与一群专门研究知识如何作为一个社会过程获得和传播的社会科学研究人员，知识如何体现在可交易的形式（对象），以及其他人如何利用并将这些价值转化为他们自己的项目。时间表：第一节制作与设计：编舞者和/或他们的研究团队成员将展示他们正在创作的“编舞对象”，并概述这些对象提供的信息（或知识）。第二部分：翻译、传播和交流：编舞者和/或他们的研究团队成员将展示这些物品的传播途径，包括它们的目标受众以及如何促进这些物品的传播。第三届会议增加和未来的研究：我们将审查和总结什么反思，创新和修改可能会增加的价值和丰富的舞蹈资源的跨学科观众/读者，他们打算。将在萨德勒威尔斯剧院举行一个公开研讨会，使研究立即访问。