Moving without a Body: Digital Philosophy and Choreographic Thoughts

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Drawing from the theories of scholars like Gilles Deleuze and Alfred North Whitehead, as well as the choreographic work of William Forsythe and Merce Cunningham among others, Portanova asks its readers to think and envision movement according to different parameters such as numbers and the idea of the cut.

Your Thoughts Are Not Real Life. FEEL THE BODY!

Taking inspiration from the I Ching , Cunningham based his compositional process on numbers and their combination, such as in Torse , where he focused on the different movements of the torso. Linked with the resourceful importance of numbers, there is the idea of the cut. Montage rightly comes to mind; I would add collage and photomontage come to mind too, as they both imply the act virtual or real of cutting and rearranging an image. Similarly, Portanova believes that the idea of the cut can contribute to the way we think movement in the digitalised era.

Book Moving Without A Body Digital Philosophy And Choreographic Thoughts

Antropologia Masterra Antropologiak derrigortzen du begiratu eta entzutera, harriduran grabatu eta sekula igartzeko gai izango ez nintzenaren miraria. Margared Mead. The theme of reproducibility currently affects every aspect of life and culture. Often play has to do with imitation and simulation, such as the phenomenon of playback. A purely philosophical-anthropological context provides us an opportunity to think broadly about the notion of the game and the repercussions it has on different areas of thought.

All these imply reflecting on the very nature of aesthetics and its autonomy. The post-war period saw the development and definitive affirmation of electronics.

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Moreover, these topics also raise issues of a more strictly ethical nature regarding cyber-identity in cyber-space. Processes that are highly abstract, formal, parametrical, axiomatic, mechanised, denatured and purely electronic Nyman are now considered as an extension of, or as interacting with, the human body. This music is often disseminated on the internet, far from academia and experts, even though it was initially made possible through the use of university-developed software e.

New current approaches to thinking about aesthetic experience focus on issues such as Remediation of the work, Mediatisation of performance, Algorithmic Listening, Listening and Neo-Auratic Encoding, Semiconducting and music, Sonic Imprinting and themes related to the increasing performative nature of both listening and playing Borio The ability to capture, store, manipulate and transform body movements and translate them into numerical sequences has set off previously unknown creative processes.

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The relationship between choreography and numbers has become evident in the digital works done by Merce Cunningham before the term was even coined. These are all forms of human action implying the idea of the inexhaustibility of play as well as of its guiding principle, that is, imagination.

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Barck et al. Benjamin, Gesammelte Schriften , vol. She distinguishes the choreographic thought from the performance: a body performs a movement, and a mind thinks or choreographs a dance. Similarly, she sees the move from analog to digital as a shift in conception rather than simply in technical realization. Analyzing choreographic technologies for their capacity to redesign the way movement is thought, Moving without a Body offers an ambitiously conceived reflection on the ontological implications of the encounter between movement and technological systems.

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Stamatia Portanova choreographs technology, media, dance, and philosophy together to make a brilliant, multilayered account of contemporary culture and the changes and possibilities brought by the floods of computation. This is a book full of sensual abstraction and lucid, rigorous bodies: an inspiration!

Moving without a Body is a book about choreography, and about the use of digital technologies in contemporary dance. But beyond this, the book also offers a deeply original discussion of the relations between body and mind, between analog and digital, and between the fluidity of the organic and the algorithmic complexity of software. These pairs of terms should not be seen as opposites; for Stamatia Portanova demonstrates the fertile creativity that arises from their intertwining. In the increasingly rich literature exploring the intersections between contemporary dance and philosophy, Stamatia Portanova's Moving without a Body stands out as a true achievement.