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17 OCTOBER 2011

Laban Movement Analysis: qualitative aspects of nonverbal behaviour

"Laban Movement Analysis (LMA) originated in the work of Rudolf Laban, and has evolved into a highly detailed practical system that describes qualitative aspects of nonverbal behavior. In its current development, it operates as a phenomenology of movement and mind, as it requires that the observer look at the movement itself, prior to interpretation and without prejudice, while acknowledging the intrinsic connection between movement and subjective experience. Movement Analysis increases kinesthetic sensitivity for the observer, because it places in the foreground of the observer's experience, those aspects of movement which are individual–specific: that is, those movement choices which an individual makes within a particular context. Movement Analysis as a system of observation assumes that a significant degree of individual freedom in movement quality is always present within biological, cultural, and contextually defined bodily repertoires."

(Janet Kaylo)

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TAGS

attunementbodies in spacebodily engagement • bodily repertoires • body experiencechoreographycorporealdance performance • dance therapy • everyday movementexpressive repertoirefigures in spaceforensic detail • freedom of movement • intimacyintimateintimate movement • kinaesthetic sensitivity • kinesthetic • kinesthetic participation • kinetic exchange • Laban Movement Analysis • language for describing movement • LMA • movementmovement analysis • movement analysis methodology • movement and subjective experience • movement efficiency • movement experience • movement life • movement lives • movement performance • movement quality • movement vocabulary • nonverbal behaviourobservationpatterns of movement • phenomenology of mind • phenomenology of movement • physical presenceposturepuppetryreal-life • Rudolf Laban • seeing • seeing another • sensitivity to others • sensory abilitysubtlety • system of observation • theatre performance • therapeutic • understanding movementwatching

CONTRIBUTOR

Elisza Ribeiro
13 FEBRUARY 2010

Centre for Material Digital Culture

"A DECADE after the first Internet boom and the parallel explosion of the connected fields of new media studies, techno–cultural studies, cyber–cultural studies, new medium studies, there is still much discussion of innovation, but there is also an understanding that the first moment of the new has passed. New media has a history, as well as present and future – and of course, it always did. Today, the dynamic of continuity and transformation intrinsic to the relationship between technology and culture can be drawn differently. Innovation continues. Technologists declare web 2.0; the stress shifts from the screen–world to the penetration of the real–world environment by pervasive and intimate forms of new media. New forms of new media continue to arrive; content develops and original modes of use, forms of association, ways of writing or thinking together, spring up. Continuity reasserts itself. Processes of remediation transform old media, but not beyond all recognition. Much remains of 'good old television' in the world of digital TV, the aesthetics of radio persist as it is delivered to us over the net or as a pod–cast, and the conventions and economy of the traditional cinematic apparatus translate into the world of DVD and digital screening in forms we recognize and find familiar. Even the truly innovative media forms, those springing up out of digital technology, now have substantial development histories, their own traditions, and increasingly their own conventions. These last are expressed in code, articulated in the physical architecture of new media networks, found in the dispositions or habitus of users, evident in the consolidation of various genres, and evident also in the contested but provisionally secured cultural capitals circulating around various new media formations.

AT THIS POINT, with this new balance in mind, it is legitimate and timely to re–define the object and its significance, to ask what 'digital culture' or 'networked culture' entails. And so this centre sets out to re–assess forms of thinking about new media technologies as material digital cultures. It asks what material properties, what symbolic properties, what affective or sense perceptive regimes and what political economies, are now invoked under the banner of new media. It explores how the networked digital culture in which we live can be defined and critiqued. And, it argues that this is a moment when new media theory also needs to be re–assessed: What forms of thinking about processes of convergence worked? What were their outcomes? Are they productive in generating ways of thinking and investigating the developing and established new media ecologies within which we now live?"

(Joanne Whiting, University of Sussex)

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TAGS

connectivityconstellationsconvergencecultural capitalcultural codes • cyber-cultural studies • digital culturediscoverydiscursive field • forms of association • habitus • innovative media forms • interactionInternetintimatematerial culturemedia ecologiesnetworked culturenetworks • new media studies • new media theory • new medium studies • old mediapervasivepodcast • real-world environment • remediationrepresentationresearchresearch centre • screen-world • techno-cultural studies • technology and culturetheory building • thinking together • transformationUKways of thinkingWeb 2.0

CONTRIBUTOR

Simon Perkins
01 JANUARY 2010

wj-s.org: weejays, webjays, webjockeys ...

"the World Wide Web [has become] a space of converging multimedia praxis, has become a vast experimentation and exploration ground with countless artistic ramifications. As it is often related to a solitary adventure led in a very intimate relationship with one's machine, the virtual experience is seldom extended to another dimension of time–space. Projects involving network actors only take place in closed circles, within the network, and hardly ever outside, within a live performance environment. The idea of the WJ's project is to disrupt this tendency by offering a strong, captivating, sensual and slightly altered cybernetic surf where the feeling of being immerged in the flow and the extreme pleasure of browsing are shifted to a live performance environment. Individual and collaborative online productions (in different geographical sites) become collective events (to which an audience is invited). In this way, Wjs become flux stalkers and offer things to see, hear, feel, observe and think about, through a progressive and dynamic process. Guided by their critical spirit and their own personal outlook, they reveal the fragrance of the Web, defragment and confront worlds that make the invisible become visible."

(Anne Roquigny)

Fig.1 WJ–S Performance Alessio Chierico

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TAGS

audiencebrowsebrowsing • closed circles • collaborationcreative practicecybernetic • defragmentation • digital cultureDJenvironmentflows • geographically dispersed • immerge • immersiveinformation aestheticsinteractionintimatemedia artmultimedianetwork • network actors • new medianotationonline • online collaboration • performance • performance environment • praxisrelationshipsitespectaclesurf • time-space • visual literacyvisualisationVJweb • webjay • webjockey • weejay • WJ • Yugo Nakamura • yugop.com

CONTRIBUTOR

Simon Perkins
19 FEBRUARY 2004

CyberSM: remote tactile interaction

"The cyberSM project was an attempt to create a real time, visual, auditory, and tactile communication in the world of cyberspace. In the first cyberSM experiment, the user began to experience what others have only talked about for years: live, tactile communication through a computer environment. The CyberSM project expanded upon text based virtual environments, such as Minitel, MUDs, or most BBSs. It also takes the next logical step toward true telepresence by employing 3D graphics, live audio, and direct physical stimulation to allow participants to physically 'touch' each other over distances. The cyberSM project allows the establishment of trans_gender appearances, identities and entities by letting the participants choose their own visual appearance from a large databank of digitized human bodies. Once chosen, the participants send the image of their virtual self to the others on the network. The body thus becomes a visual fantasy. Central to the cyberSM project is the ability to transmit physical stimuli from one participant to the other. This is made possible through the use of stimulator suits connected over international telephone lines, which allow the users to remotely stimulate one–another's bodies. Not only does this physical element of communication allow the CyberSM project to more closely model inter–human communication, it creates a new form of interaction. Throughout the cyberSM connection, participants have a physical dialogue, but they remain anonymous the whole time."

(Ståhl Stenslie)

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