標(biāo)題: Titlebook: Experimental Dance and the Somatics of Language; Thinking in Micromov Megan V. Nicely Book 2023 The Editor(s) (if applicable) and The Autho [打印本頁(yè)] 作者: 中間時(shí)期 時(shí)間: 2025-3-21 19:29
書(shū)目名稱Experimental Dance and the Somatics of Language影響因子(影響力)
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書(shū)目名稱Experimental Dance and the Somatics of Language讀者反饋
書(shū)目名稱Experimental Dance and the Somatics of Language讀者反饋學(xué)科排名
作者: exceptional 時(shí)間: 2025-3-21 22:54 作者: 鋪?zhàn)?nbsp; 時(shí)間: 2025-3-22 01:20 作者: 不感興趣 時(shí)間: 2025-3-22 05:32 作者: Genome 時(shí)間: 2025-3-22 12:08
Generation Praktikum Revisited,om tape music and sonic poetry to graphical word art and experimental writing; and in forms like scores, drawings, prompts, cues, notes, texts, and words spoken during performance, language provided inspiration for composition and action.作者: Ballad 時(shí)間: 2025-3-22 15:16
https://doi.org/10.1007/978-3-658-29530-1make eye contact above facemasks. Our feet make audible sounds on the floor as heels and toes land and take off and gravity acts on our bodies. We are both quick and slow as the kinetic flow of energy suspends us in this shared condition of movement’s return.作者: Ballad 時(shí)間: 2025-3-22 18:52 作者: Eclampsia 時(shí)間: 2025-3-23 00:27
Language as Agent: Doing and Allowing,om tape music and sonic poetry to graphical word art and experimental writing; and in forms like scores, drawings, prompts, cues, notes, texts, and words spoken during performance, language provided inspiration for composition and action.作者: 健談 時(shí)間: 2025-3-23 03:55
,Movement’s Return: Sensations in Context,make eye contact above facemasks. Our feet make audible sounds on the floor as heels and toes land and take off and gravity acts on our bodies. We are both quick and slow as the kinetic flow of energy suspends us in this shared condition of movement’s return.作者: Mast-Cell 時(shí)間: 2025-3-23 06:14 作者: indemnify 時(shí)間: 2025-3-23 13:33
Experimental Dance and the Somatics of Language978-3-031-30296-1Series ISSN 2730-9266 Series E-ISSN 2730-9274 作者: obstruct 時(shí)間: 2025-3-23 13:59
https://doi.org/10.1007/978-3-663-10137-6Sensing my weight on the floor, I notice the feedback of tangible contact. The teacher’s voice guides the class through anatomical references such as noting how the ball of the femur head moves in the socket as the leg rotates inward and outward. We are instructed to place one foot at a time on the 作者: 無(wú)價(jià)值 時(shí)間: 2025-3-23 21:25 作者: Commemorate 時(shí)間: 2025-3-23 22:20 作者: 怕失去錢(qián) 時(shí)間: 2025-3-24 05:38
,Transferleistungen für Familien,d San Francisco Butoh Festival, one of the earliest events of its kind in the United States.. Kasai had recently returned to the stage, and this was his U.S. debut. The piece, . (1994), caused quite a stir that night.. Through encounters between bodies and language, the work actualized the kind of e作者: Asparagus 時(shí)間: 2025-3-24 09:13
https://doi.org/10.1007/978-3-531-92511-0siki and Pichaud [2016] 2019: 95 n. 29). Her choreography comprises written scores that can only be danced to the extent that a performer is willing and able to suspend their habitual dance and performance training, ask questions of themselves and their perception while moving, and release any inten作者: 蛙鳴聲 時(shí)間: 2025-3-24 13:21 作者: 高調(diào) 時(shí)間: 2025-3-24 17:30
https://doi.org/10.1007/978-3-658-29530-1udents and I circulate to begin our warmup, the room becomes electric, infused with possibility. We devour space and interact without hesitation, albeit at some distance; the sensations of movement are amplified in contrast to the more limited motion of the past eighteen months. We are diverted and 作者: Indebted 時(shí)間: 2025-3-24 22:41
Megan V. NicelyDraws on embodied research in American postmodern dance and Japanese butoh.Investigates how dance bodies work with the micromovements elicited by language’s affective forces.Speaks to the choreographi作者: calamity 時(shí)間: 2025-3-25 00:14
New World Choreographieshttp://image.papertrans.cn/e/image/318816.jpg作者: BET 時(shí)間: 2025-3-25 04:35 作者: 絕緣 時(shí)間: 2025-3-25 09:56 作者: 小隔間 時(shí)間: 2025-3-25 15:38 作者: evaculate 時(shí)間: 2025-3-25 17:36
Zum Generationenbegriff der Arbeitultural artifacts like certain kinds of clothing, or social expectations linked to gender norms or racial stereotypes, and are often a layering of several factors (188–91). Behnke draws on phenomenologist Edmund Husserl’s distinction between two kinds of “mine-ness”: possession, where the body is co作者: Ligament 時(shí)間: 2025-3-25 23:14
,Transferleistungen für Familien,l gestures; interactions with audience members; and an extended manifesto-like program note all indicated that the message of . extended well beyond this particular performance moment. The event seemed to be asking audiences to reconsider what dance performance could be and do in the larger world. I作者: certitude 時(shí)間: 2025-3-26 03:03 作者: 滲透 時(shí)間: 2025-3-26 07:18
Introduction,g how the body coordinates the process with minimal muscular effort and deep cross-lateral connectivity. Then we are asked to reverse the pathway, starting with the foot leading behind—and again take stock of what happens and where the diagonal pathway might be broken or less fluid as we return to o作者: PIZZA 時(shí)間: 2025-3-26 10:31
The Micropolitics of Micromovement,ultural artifacts like certain kinds of clothing, or social expectations linked to gender norms or racial stereotypes, and are often a layering of several factors (188–91). Behnke draws on phenomenologist Edmund Husserl’s distinction between two kinds of “mine-ness”: possession, where the body is co作者: 黑豹 時(shí)間: 2025-3-26 14:13
Vibration: Kasai Akira and Voice Power,l gestures; interactions with audience members; and an extended manifesto-like program note all indicated that the message of . extended well beyond this particular performance moment. The event seemed to be asking audiences to reconsider what dance performance could be and do in the larger world. I作者: Crepitus 時(shí)間: 2025-3-26 18:12
,Adaptation: Deborah Hay and “Call It That”,. Instead, Hay suggests that dance artists use language as a tool for both sensing micromovements in their bodies developed through years of dance training and for instructing audiences, producers, and critics on the significant place of language in dance.作者: ANIM 時(shí)間: 2025-3-26 21:47 作者: 生氣地 時(shí)間: 2025-3-27 04:36
The Micropolitics of Micromovement, transformation occurs. Somatic educator and philosopher Elizabeth Behnke refers to micromovements as “ongoing kinesthetic holding patterns” (1997: 191). She understands them as types of “inner vectors or tendencies toward movement” that persist in the body, often unconsciously (181). Patterns of te作者: Abduct 時(shí)間: 2025-3-27 05:32
Interval: Trisha Brown and the Space Between Words,e and numbered each corner and the midpoints as well as top, bottom, and center, creating a total of twenty-seven points. She then took the English alphabet and assigned each letter a number in order, 1–26. Using several autobiographical sentences, she matched the numbers to the letters to create a 作者: 共和國(guó) 時(shí)間: 2025-3-27 11:38 作者: Critical 時(shí)間: 2025-3-27 14:13
,Adaptation: Deborah Hay and “Call It That”,siki and Pichaud [2016] 2019: 95 n. 29). Her choreography comprises written scores that can only be danced to the extent that a performer is willing and able to suspend their habitual dance and performance training, ask questions of themselves and their perception while moving, and release any inten作者: Dungeon 時(shí)間: 2025-3-27 18:59
Language as Agent: Doing and Allowing, activates sensations inside a performer’s body, rather than as the materialization of the author/speaker’s thinking. In these practices, language moves through a performer’s body to spark thinking, which is further informed by particular movement techniques and choreographic directives to realize a作者: 束縛 時(shí)間: 2025-3-27 22:17
,Movement’s Return: Sensations in Context,udents and I circulate to begin our warmup, the room becomes electric, infused with possibility. We devour space and interact without hesitation, albeit at some distance; the sensations of movement are amplified in contrast to the more limited motion of the past eighteen months. We are diverted and 作者: Cognizance 時(shí)間: 2025-3-28 03:46
Li Yuer Protagonistin, die Krankheit hinter sich zu lassen. Durch die Fokussierung auf die jugendlichen Entwicklungsphasen gelingt der Netflix-Produktion eine wirklichkeitsnahe Darstellung der Krebsthematik bei Kindern und Jugendlichen.作者: barium-study 時(shí)間: 2025-3-28 07:12
SEMG-Based Prosthetic Hand with?an?Integrated Mobile Applicationroviding a satisfactory range of motion for each finger. The evaluation process also indicates the algorithm’s ability to predict hand gestures, although its performance may not be on par with state-of-the-art models. Nevertheless, considering the limited number of sensors used, the achieved accurac作者: Communal 時(shí)間: 2025-3-28 12:28
https://doi.org/10.1007/978-3-319-16778-7Human Rights of Prisoners; Inmates Rights; Prison and Rehabilitation; Religion and Spirituality in Pris作者: MAG 時(shí)間: 2025-3-28 17:46
https://doi.org/10.1007/978-3-540-48584-1Computational Intelligence; Evolution; Evolutionary Algorithms; Fuzzy; Operations Research; algorithm; art
