標(biāo)題: Titlebook: Dance, Performance and Visual Art; Intersections with M Linda E. Dankworth,Henia Rottenberg,Deborah Willia Book 2024 The Editor(s) (if appl [打印本頁(yè)] 作者: 叛亂分子 時(shí)間: 2025-3-21 19:17
書目名稱Dance, Performance and Visual Art影響因子(影響力)
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書目名稱Dance, Performance and Visual Art網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Dance, Performance and Visual Art被引頻次
書目名稱Dance, Performance and Visual Art被引頻次學(xué)科排名
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書目名稱Dance, Performance and Visual Art讀者反饋
書目名稱Dance, Performance and Visual Art讀者反饋學(xué)科排名
作者: Inflated 時(shí)間: 2025-3-21 20:45 作者: 發(fā)現(xiàn) 時(shí)間: 2025-3-22 03:58
Process to Performance: Merce Cunningham and Richard Hamiltonduals entrusted with imparting knowledge of Cunningham’s repertoire and restaging it for an international dance community. Dance companies were not authorised to perform his repertoire until after the initiation of the Legacy Plan by members of the Cunningham Dance Foundation in 2009. One question a作者: Ringworm 時(shí)間: 2025-3-22 05:06
From Page to Stage: Irish Dance Costumes and Illustrations from the Book of Kells followed by the ornamentation of Irish step dance costumes from the 1920s onwards. This chapter explores the adoption of Kells-based decorations for step dance outfits and describes how such costumes were employed to promote a cultural nationalism based on principles akin to those possessed by the 作者: 安慰 時(shí)間: 2025-3-22 09:05
Articulating Dancing Bodies: Social and Pictorial Representations in Early Buddhist Arts from Indiabody of other characters are depicted with equal care and attention and are important as tangible remnants. For example, the figures in the Jataka stories in Ajanta painting belonging to different historical periods provide clear socio-historical frames of reference that can be re-affirmed through t作者: ciliary-body 時(shí)間: 2025-3-22 14:20 作者: ciliary-body 時(shí)間: 2025-3-22 19:14 作者: encomiast 時(shí)間: 2025-3-23 01:01 作者: faculty 時(shí)間: 2025-3-23 01:35
ted and modern art and all their social aspects of human life. Digitization also remains a strong focus in both dance and its representation in performance contexts and place in social constructs of societies.978-3-031-69086-0978-3-031-69084-6作者: Visual-Acuity 時(shí)間: 2025-3-23 06:50
r dance . (1998). With her all-male company, she plays with and deconstructs his gender and desire representations, thus elaborating on discourses of feminist critique of her era. Arkadi Zaides’ solo . (2014) was created from violent materials filmed by Palestinian volunteers of Israeli settlers in 作者: Ligneous 時(shí)間: 2025-3-23 11:28
across today’s post-Brexit Europe, itself burdened with austerity, the upsurge of local nationalisms, xenophobias, and a new war (in Ukraine). This chapter explores ways in which Hats Theatre used its aesthetic to produce sustainable multimedia art, subtly inscribing its social reality. I argue that作者: cajole 時(shí)間: 2025-3-23 17:08
duals entrusted with imparting knowledge of Cunningham’s repertoire and restaging it for an international dance community. Dance companies were not authorised to perform his repertoire until after the initiation of the Legacy Plan by members of the Cunningham Dance Foundation in 2009. One question a作者: 違法事實(shí) 時(shí)間: 2025-3-23 19:15 作者: Obstacle 時(shí)間: 2025-3-23 23:46 作者: 盲信者 時(shí)間: 2025-3-24 04:19 作者: coalition 時(shí)間: 2025-3-24 08:42 作者: Fierce 時(shí)間: 2025-3-24 11:46 作者: 虛情假意 時(shí)間: 2025-3-24 16:23
re, video, digital design, and photography. The cross-fertilization produces new encounters and forms of knowledge that reflect national, cultural, social, political, and historical issues. The chapters are all written by experts in their field, whether they are anthropologists, artists, dance studi作者: 心痛 時(shí)間: 2025-3-24 19:34
examine the political implications of the conscious appropriation of material from visual art into contemporary dance. As Walter Benjamin argues, when “the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritu作者: Inertia 時(shí)間: 2025-3-25 02:22
bending multimedia amalgam of “music-dance-comic book-performance”. Hats Theatre was active between 1993 and 2006, during the period of major socio-political unrest in the region, burdened by the great austerity and civil war, induced by the breakdown of Yugoslavia. The company was conceptualised by作者: Diaphragm 時(shí)間: 2025-3-25 04:24 作者: 生意行為 時(shí)間: 2025-3-25 11:14
The Book ‘symbolizes the power of learning, the impact of Christianity on the life of the country, and the spirit of artistic imagination’ (Meehan, .. London: Thames and Hudson, 2012: 13). It is especially renowned for its illustrations, including zoomorphic images and a variety of Celtic knotwork 作者: 無(wú)節(jié)奏 時(shí)間: 2025-3-25 11:55 作者: COMA 時(shí)間: 2025-3-25 16:32
tely”. Upon reflection, however, I wondered how that could be, my dancing assisting my sculpting, and why he thought he could recognise such in the forms I created. It “definitely” deserved more pondering and exploration than an instance of feeling charmed. Here, I seek to offset the little thought 作者: expdient 時(shí)間: 2025-3-25 21:29
tic digital societies within a Massive Multiplayer Online (MMO) gaming community. Establishing it as the new field of Ludochoreology, the authors will explore the process of engaging with the process of movement and dances created for, and found within, online digital games. From a practice-as-resea作者: Foment 時(shí)間: 2025-3-26 03:40
environmental somatic movement research. We question how somatic dance practice may be transmitted through the creation of 3D models and how these might be explored as standalone digital artworks within larger immersive virtual environments. How might navigable 3D documentation mediate the somatic 作者: 兩種語(yǔ)言 時(shí)間: 2025-3-26 06:10 作者: ABOUT 時(shí)間: 2025-3-26 11:50
http://image.papertrans.cn/e/image/284406.jpg作者: IOTA 時(shí)間: 2025-3-26 16:28 作者: 發(fā)牢騷 時(shí)間: 2025-3-26 17:40 作者: 冰河期 時(shí)間: 2025-3-26 22:41
Book 2024ntellectual and material relationship to the art form from which they are conceived. The themes that emerge from the authors’ contributions signify a desire to explore individual techniques in making art or unravelling the techniques of others within the composition of visual art and its contemporar作者: Platelet 時(shí)間: 2025-3-27 03:27
y approach is located at the intersections of material culture studies and contributes to this discourse, presented in our anthology in three different sections. We aim to create further discussion and thought towards a new understanding of the interrelationships between dance, performance, and visual art.作者: myalgia 時(shí)間: 2025-3-27 07:21
Introduction,y approach is located at the intersections of material culture studies and contributes to this discourse, presented in our anthology in three different sections. We aim to create further discussion and thought towards a new understanding of the interrelationships between dance, performance, and visual art.作者: groggy 時(shí)間: 2025-3-27 12:51
Book 2024y movement language. Similarly, textual, and pictorial representations depict both antiquated and modern art and all their social aspects of human life. Digitization also remains a strong focus in both dance and its representation in performance contexts and place in social constructs of societies.作者: Mingle 時(shí)間: 2025-3-27 15:52
h, focusing on both ancient and contemporary cultures, as weThis collection presents a selection of essays written from a point of view that has dance, movement, or performance at its centre, and examines the intellectual and material relationship to the art form from which they are conceived. The t作者: Customary 時(shí)間: 2025-3-27 18:27
Introduction,re, video, digital design, and photography. The cross-fertilization produces new encounters and forms of knowledge that reflect national, cultural, social, political, and historical issues. The chapters are all written by experts in their field, whether they are anthropologists, artists, dance studi作者: Exposition 時(shí)間: 2025-3-27 23:34 作者: Inelasticity 時(shí)間: 2025-3-28 05:55 作者: 半導(dǎo)體 時(shí)間: 2025-3-28 08:15 作者: 美麗的寫 時(shí)間: 2025-3-28 10:34 作者: 驚惶 時(shí)間: 2025-3-28 15:06
Articulating Dancing Bodies: Social and Pictorial Representations in Early Buddhist Arts from Indiae produced in the religious domain, their pictorial tool is guided by the conventions as well as strategies of presentation of human life through the artistic procedure with an idea to create a contextual representation of an artistic impression of lived realities. There are solo figures as well as 作者: alcohol-abuse 時(shí)間: 2025-3-28 20:19
Dancing Clay: On Kinaesthetic Experience and Tactile Materializationtely”. Upon reflection, however, I wondered how that could be, my dancing assisting my sculpting, and why he thought he could recognise such in the forms I created. It “definitely” deserved more pondering and exploration than an instance of feeling charmed. Here, I seek to offset the little thought 作者: SSRIS 時(shí)間: 2025-3-29 01:29
From Physical Sensation to Digital Presentation: Exploring Interdisciplinary Worldbuildingtic digital societies within a Massive Multiplayer Online (MMO) gaming community. Establishing it as the new field of Ludochoreology, the authors will explore the process of engaging with the process of movement and dances created for, and found within, online digital games. From a practice-as-resea作者: Rodent 時(shí)間: 2025-3-29 06:27
Frozen Scenography: Extending Somatic Movement Practice Through 3D Scanning environmental somatic movement research. We question how somatic dance practice may be transmitted through the creation of 3D models and how these might be explored as standalone digital artworks within larger immersive virtual environments. How might navigable 3D documentation mediate the somatic 作者: 時(shí)代 時(shí)間: 2025-3-29 09:36
Paul Darbyshire,Adam Darbyshireong them are the use of new construction materials in extreme conditions and the intensification of technological processes. The increasing tendency toward rapprochement of mechanics with physics is closely connected with these factors. The internal logic of the development of continuum mechanics as a science is also important.
