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Publication
Subversão da gravidade na dança com mediação digital
| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 5 MB | Adobe PDF |
Authors
Abstract(s)
Esta investigação buscou responder às seguintes questões: como artistas da dança têm tornado a fantasia de subversão da gravidade verossímil, através de recursos digitais? De que forma os meios digitais viabilizam o trabalho destes artistas? Dentre as respostas encontradas estão duas contribuições originais ao campo da média-arte digital: os eixos de relação, categoria que explica que elementos envolvidos na criação da ilusão de subversão da gravidade em artefatos de dança com mediação digital e como estes se relacionam; e os graus de interação do artefato, categoria que classifica o artefato de acordo com sua qualidade de interação com o público, através de recursos digitais. Na primeira categoria – eixos de relação – a análise levou ao reconhecimento dos elementos envolvidos na construção da subversão da gravidade. São eles: cenário, câmera, público e gravidade. As várias combinações de posicionamento entre estes elementos formam o que passamos a chamar de eixos de relação. A segunda categoria elaborada – graus de interação do artefato – responde principalmente à forma como os meios digitais viabilizam o trabalho artístico. A classificação dos artefatos é feita a partir do seu grau de interação com o público, através de recursos digitais. Foram encontrados quatro graus de interação, sendo: grau 1, chamado também de grau do artefato de mão única; grau 2, também chamado de grau do artefato de engajamento público; grau 3, também chamado de grau do artefato de manipulação digital; e grau 4, também chamado de grau do artefato de diferencial interativo. A investigação foi pautada em duas estratégias principais: investigação baseada em prática artística (APBR), e investigação baseada em arte (ABR), através da análise de processos criativos. O processo artístico previsto no percurso doutoral, cujo caminho metodológico foi guiado pela a/r/cografia, resultou em duas obras que integram a amostra dos dez processos criativos analisados, realizados por cinco diferentes artistas.
This research sought to answer the following questions: how have dance artists made credible the fantasy of subverting gravity through digital resources? How do digital resources enable these artists’ work? Among the answers, two original contributions to the field of digital art were found: the relational axes, a category that explains the elements related to creating the illusion of subverting gravity in dance upon digital mediation and their mutual relations; and the dance artifact’s levels of interaction, a category that classifies the artifact according to the quality of its interaction with the audience by means of digital resources. In the first category – relational axes – the analysis led to the recognition of the features connected to constructing the subversion of gravity. They are: setting, camera, audience and gravity. The various combinations of positioning between these elements form what we have come to call relational axes. The second category developed – interactional levels – responds mainly to the way in which digital media enable artistic work. The artifacts are rated based on their level of interaction with the audience through digital resources. Four interactional levels were found: level 1, also called ‘one-way artefact’; level 2, also called ‘public engagement artifact’; level 3, also called ‘digital manipulation artifact’; and level 4, also called ‘interactive differential artefact’. The research was guided by two main strategies: 1. Art Practice-Based Research (APBR), resulted in two pieces, guided by the a/r/cography, that are part of the sample of analysis; and: 2. Art-Based Research (ABR), through the analysis of ten creative processes, created by five distinct artists, including the author.
This research sought to answer the following questions: how have dance artists made credible the fantasy of subverting gravity through digital resources? How do digital resources enable these artists’ work? Among the answers, two original contributions to the field of digital art were found: the relational axes, a category that explains the elements related to creating the illusion of subverting gravity in dance upon digital mediation and their mutual relations; and the dance artifact’s levels of interaction, a category that classifies the artifact according to the quality of its interaction with the audience by means of digital resources. In the first category – relational axes – the analysis led to the recognition of the features connected to constructing the subversion of gravity. They are: setting, camera, audience and gravity. The various combinations of positioning between these elements form what we have come to call relational axes. The second category developed – interactional levels – responds mainly to the way in which digital media enable artistic work. The artifacts are rated based on their level of interaction with the audience through digital resources. Four interactional levels were found: level 1, also called ‘one-way artefact’; level 2, also called ‘public engagement artifact’; level 3, also called ‘digital manipulation artifact’; and level 4, also called ‘interactive differential artefact’. The research was guided by two main strategies: 1. Art Practice-Based Research (APBR), resulted in two pieces, guided by the a/r/cography, that are part of the sample of analysis; and: 2. Art-Based Research (ABR), through the analysis of ten creative processes, created by five distinct artists, including the author.
Description
Keywords
Dança com mediação digital Média-arte digital Subversão da gravidade Eixos de relação Graus de interação do artefato Poética de instabilidade