Results for 'Performing Arts'

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  1. Psychology, Fredrik Sundqvist. Acta Philosophica Gothoburgensia 16. Göteborg: Acta Universitatis Gothoburgensis, 2003, xi+ 248 pp., pb. no price given. Legitimizing Scientific Knowledge: An Introduction to Steve Fuller's Social Epistemology, Francis Remedios. Lanham, MD: Lexington Books, 2003, xii+ 143 pp., $55.00. Gadamer's Repercussions: Reconsidering Philosophical Hermeneutics. Edited by Bruce. [REVIEW]Art as Performance - 2004 - Inquiry: An Interdisciplinary Journal of Philosophy 47:315-317.
     
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  2.  83
    Stain removal: On race and ethics.Art Massara - 2007 - Philosophy and Social Criticism 33 (4):498-528.
    What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead (...)
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  3.  9
    The Aesthetics of Enchantment in the Fine Arts.Marlies Kronegger, Anna-Teresa Tymieniecka & Fine Arts Aesthetics American Society for Phenomenology - 2000 - Springer Verlag.
    Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...)
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  4.  12
    Experiences of Clinical Clerkship Students With Mindfulness-Based Stress Reduction: A Qualitative Study on Long-Term Effects.Inge van Dijk, Maria H. C. T. van Beek, Marieke Arts-de Jong, Peter L. B. J. Lucassen, Chris van Weel & Anne E. M. Speckens - 2022 - Frontiers in Psychology 13.
    PurposeTo explore the mindfulness practice, its long-term effects, facilitators and barriers, in clinical clerkship students 2 years after participation in an 8-week mindfulness-based stress reduction training.MethodA qualitative study was performed by semi-structured in-depth interviews with 16 clinical clerkship students selected by purposive sampling. Students had participated in a MBSR training 2 years before and were asked about their current mindfulness practice, and the long-term effects of the MBSR training. Thematic analysis was conducted using the constant comparison method. Data saturation was (...)
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  5.  13
    Performing arts—influencing change.Dáša Čiripová - 2011 - Human Affairs 21 (4):382-392.
    In the present political and socio-cultural situation in Slovakia, it is natural and necessary even to ask “what position do the arts occupy in this country?” and “what role do they play within the complex global atmosphere?” Art and culture should mirror the nation. Are we aware of that? Do we realize that art has the ability and the power to move? Not many of us realize this. This is a consequence of the permanent scepticism, apathy and resentment caused (...)
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  6.  36
    Wittgenstein, performing art and action.Graham McFee - 2001 - In Richard Allen & Malcolm Turvey (eds.), Wittgenstein, theory, and the arts. New York: Routledge. pp. 92--116.
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  7. Philosophy of the Performing Arts.David Davies - 2011 - Wiley-Blackwell.
    This book provides an accessible yet sophisticated introduction to the significant philosophical issues concerning the performing arts.
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  8.  19
    Theatrical documentary of performance art.Dagmar Podmaková - 2013 - Human Affairs 23 (1):81-90.
    M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre direction. (...)
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  9.  8
    The Performer: Art, Life, Politics.Richard Sennett - 2024 - Yale University Press.
    _An exploration of the uncomfortable connections among performances in life, art, and politics_ “All the world’s a stage,” declares the melancholy Jacques in Shakespeare’s_ As You Like It._ Today that’s an unhappy thought. A cluster of demagogues has recently dominated the public realm through their powers as actors; they are brilliant performers. More unsettling, the demagogue, the dancer, and the musician all share the same nonverbal realm of bodily gestures, lighting and blocking, costuming, and stage architecture. So, too, the roles (...)
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  10.  12
    The Audiovisual Broadcast of Performing Arts: From the Stage to the Screen—Legal Issues.Maxime de Brogniez & Antoine Vandenbulke - 2023 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 36 (5):1971-1990.
    This contribution focuses on legal issues raised by the audiovisual broadcasting of performing arts, which has significantly increased due to the SARS-CoV-2 pandemic. First, we contextualize this practice and briefly present the emergence and evolution of the practice of “filmed theater”, as well as any other form of performances (e.g., concert, ballet, opera) originally conceived for the stage but subsequently diffused through other channels. Secondly, we address the current legal issues that have arisen because of the increase of (...)
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  11.  9
    Performing Arts in a Process of Semiosis.Bujar Hoxha & Kay O. Halloren - 2022 - International Open Seminar on Semiotics.
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  12. Understanding performance art: Art beyond art.Thomas Heyd - 1991 - British Journal of Aesthetics 31 (1):68-73.
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  13.  55
    The Performing Arts.J. R. Hamilton - 2012 - British Journal of Aesthetics 52 (2):216-219.
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  14.  16
    Performing Arts in Medieval Islam: Shadow Play and Popular Poetry in Ibn Dāniyāl’s Mamluk Cairo. By Li Guo. [REVIEW]Geert Jan Van Gelder - 2021 - Journal of the American Oriental Society 134 (3):536-539.
    The Performing Arts in Medieval Islam: Shadow Play and Popular Poetry in Ibn Dāniyāl’s Mamluk Cairo. By Li Guo. Islamic History and Civilization, vol. 93. Leiden: Brill, 2012. Pp. xiii + 240. $136.
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  15. Music in performance arts: film, theatre and dance.Annabel J. Cohen - 2008 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
     
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  16.  22
    Feminist Pedagogical/ Conversational Performance Art: The Work of Mónica Mayer.Gemma Argüello Manresa - 2021 - Aesthetic Investigations 5 (1):99-110.
    This paper shows how the early feminist pedagogical performance artworks of the Mexican artist Mónica Mayer are example of Connective Aesthetics and Conversational Art.
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  17. For an Audience: A Philosophy of the Performing Arts.Paul Thom - 1993 - Temple University Press.
    This is an examination of the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization. Unlike his contemporaries, Paul Thom concentrates on an analytical approach to evaluating music, drama, and dance. Separating performance art into its various elements enables Thom to study its nature and determine essential features and their relationships. Throughout the book, he debates traditional thought in numerous areas of the performing arts. He argues, for example, against the invisibility of (...)
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  18.  11
    The Artist Is President: Performance Art and Other Keywords in the Age of Donald Trump.Christopher Grobe - 2020 - Critical Inquiry 46 (4):764-805.
    Throughout the 2016 US presidential election, pundits repeatedly described Donald Trump as a performance artist and his campaign as performance art. Meanwhile, his alt-right supporters were mounting performance art shows, debating the meaning of Marina Abramović’s work, and developing their own theories of political performance. For experts in performance theory, such punditry and provocation is like the image in a funhouse mirror. It’s hard to make sense of such bizarre, distorted images—let alone to recognize ourselves in them. This article insists (...)
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  19.  10
    Studies in the performing arts.Don Quantz - 2011 - Telos: The Destination for Nazarene Higher Education 1.
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  20.  32
    The Novel as a Performing Art.Alexey Aliyev - 2020 - Philosophia 49 (3):941-955.
    The consensus is that the novel—along with painting, sculpture, and architecture—should be categorized as a non-performing art. In this essay, I argue that such categorization is misguided: In fact, there is good reason to categorize the novel as a performing art. I begin by showing that x is a performing art if the following conditions are satisfied: x is an art and to fully appreciate a work of x, it is necessary to experientially engage with a performance (...)
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  21. Works and performances in the performing arts.David Davies - 2009 - Philosophy Compass 4 (5):744-755.
    The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, (...)
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  22. Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art & Abstract Objects. Oxford University Press. pp. 242-262.
    This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...)
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  23. Toward A Deweyan Theory of Ethical and Aesthetic Performing Arts Practice.Aili Bresnahan - 2014 - Journal of Aesthetics and Phenomenology 1 (2):133-148.
    This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both (...)
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  24.  51
    Technoperformances: using metaphors from the performance arts for a postphenomenology and posthermeneutics of technology use.Mark Coeckelbergh - 2020 - AI and Society 35 (3):557-568.
    Postphenomenology and posthermeneutics as initiated by Ihde have made important contributions to conceptualizing understanding human–technology relations. However, their focus on individual perception, artifacts, and static embodiment has its limitations when it comes to understanding the embodied use of technology as involving bodily movement, social, and taking place within, and configuring, a temporal horizon. To account for these dimensions of experience, action, and existence with technology, this paper proposes to use a conceptual framework based on performance metaphors. Drawing on metaphors from (...)
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  25.  4
    “Euripidean dilemma”: Nietzsche’s influence on Danto’s philosophical understanding of performance art.Benjamin Riado - 2021 - Rivista di Estetica 77:124-139.
    This essay addresses the theoretical foundations of Danto’s vision of performance art. In his writings, Danto rarely mentions this art form and when he does so, it is for the most part in a negative way. Still, there is one clue to Danto’s deeper engagement with performance art. This is his constant references to Nietzsche’s The Birth of Tragedy. Danto finds in Nietzsche a critical tool for engaging with contemporary artists: what he calls the “Euripidean dilemma”. This approach provides a (...)
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  26.  36
    “The Chymical Wedding”: performance art as masochistic practice.Simon O’Sullivan & David Burrows - 2010 - Angelaki 15 (1):139-148.
  27.  44
    Form, Utopia, and Feminist Performance Art: Toward a Rehabilitation of Adorno's Aesthetic Theory.Julia Rothenberg - 2006 - Telos: Critical Theory of the Contemporary 2006 (137):36-66.
  28. Negotiating deviance and normativity : performance art, boundary transgressions and social change.Britta B. Wheeler - 1999 - In Marilyn Corsianos & Kelly Amanda Train (eds.), Interrogating social justice: politics, culture, and identity. Toronto: Canadian Scholars' Press.
     
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  29. Becoming Queer: Performance Art and Constructions of Identity.Rachel Loewen Walker - 2008 - Gnosis 9 (3):1-23.
  30. Perceiving Live Improvisation in the Performing Arts.Aili Bresnahan - 2019 - In Steven Gouveia, Manuel Curado & Dena Shottenkirk (eds.), Perception, Cognition and Aesthetics. New York: Routledge Studies in Contemporary Philosophy. pp. 106-119.
    This chapter will explore the ways that live improvisational performances by professional-level actors, musicians, and dancers, take place at both cognitive and sub-cognitive levels in ways that are relevant for understanding perception and appreciation of the performing arts. First, evidence from cognitive science will be used to show that improvising, as in a dance or a music jam session or a scene in theatre, may involve physical responses that occur before we are conscious of the event to which (...)
     
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  31.  58
    Towards a sensorimotor aesthetics of performing art.B. Calvo-Merino, C. Jola, D. E. Glaser & P. Haggard - 2008 - Consciousness and Cognition 17 (3):911-922.
    The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of (...)
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  32.  30
    Lyotard and the 'figural' in Performance, Art and Writing.Kiff Bamford - 2014 - London, UK: Continuum.
    This original study offers a timely reconsideration of the work of French philosopher Jean-François Lyotard in relation to art, performance and writing. How can we write about art, whilst acknowledging the transformation that inevitably accompanies translations of both media and temporality? That is the question that persistently dogs Lyotard's own writings on art, and to which this book responds through reference to artists from the recently-formed canon of performance art history, including the myths of seminal figures Marina Abramovic and Vito (...)
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  33.  9
    Reducing Implicit Cognitive Biases Through the Performing Arts.Josué García-Arch, Cèlia Ventura-Gabarró, Pedro Lorente Adamuz, Pep Gatell Calvo & Lluís Fuentemilla - 2021 - Frontiers in Psychology 12.
    The aim of the present research was to test whether involvement in a 14-days training program in the performing arts could reduce implicit biases. We asked healthy participants to complete an Implicit Association Test to assess biased attitudes to physical illness in two separate sessions, before and after the training program. Two separate control groups matched by age, gender and educational level completed the two IAT sessions, separated by same number of days, without being involved in the training (...)
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  34.  78
    Performing live: aesthetic alternatives for the ends of art.Richard Shusterman - 2000 - Ithaca, N.Y.: Cornell University Press.
    The end of aesthetic experience -- Don't believe the hype -- The fine art of rap -- Affect and authenticity in country musicals -- The urban aesthetics of absence : pragmatist reflections in Berlin -- Beneath interpretation -- Somaesthetics and the body/media issue -- The somatic turn : care of the body in contemporary culture -- Multiculturalism and the art of living -- Genius and the paradox of self-styling.
  35.  10
    Shusterman’s Somaesthetics: From Hip Hop Philosophy to Politics and Performance Art.Jerold J. Abrams (ed.) - 2022 - Boston: BRILL.
    _Shusterman’s Somaesthetics_ is a wide-ranging collection of penetrating essays by twelve scholars examining in rich detail the many dimensions of philosopher Richard Shusterman’s pragmatism and somaesthetics, complemented by his own chapter of responses to these scholars.
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  36.  7
    Performance and Authenticity in the Arts.Salim Kemal & Ivan Gaskell (eds.) - 1999 - Cambridge University Press.
    This book brings together a distinguished group of scholars from music, drama, poetry, performance art, religion, classics and philosophy to investigate the complex and developing interaction between performance and authenticity in the arts. The volume begins with a perspective on traditional understandings of that relation, examining the crucial role of performance in the Poetics, the marriage of art with religion, the experiences of religious and aesthetic authenticity, and modernist conceptions of authenticity. Several essays then consider music as a performative (...)
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  37.  5
    The inhabiting body. A pedagogical proposal to give value to the cultural heritage through the performing arts.Giulia Schiavone - 2021 - ENCYCLOPAIDEIA 25 (60):121-139.
    The contribution attests a research project coordinated by the Department of Human Sciences for Education “Riccardo Massa” and led in Mantova and Sabbioneta UNESCO sites. The project aims at accompanying citizens and visitors along a participative, sensorial and emotional path towards the cultural heritage’s enhancement and interpretation. Inspired by the desire to promote experiences helpful for an encounter between human beings and the environment, the body and the mind, the scientific and poetic dimension, we wanted to investigate and further explore (...)
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  38.  14
    Women Making Art: Women in the Visual, Literary, and Performing Arts Since 1960.Deborah J. Johnson & Wendy Oliver - 2001 - Peter Lang Incorporated, International Academic Publishers.
    This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy Sherman, (...)
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  39. From Gender as Performative to Feminist Performance Art.Gertrude Postl - 2009 - Radical Philosophy Review 12 (1-2):87-103.
    Judith Butler’s idea of gender as performative (introduced in Gender Trouble and now a commonplace in feminist theory) is brought into dialogue with feminist performance art (exemplified by Valie Export, the Austrian media- and performance-artist). Butler’s claim that gender is performative and that it can be changed only through a parodic repetition of performative acts is revisited through the lens of Export’s subversive performance pieces. This “interaction” between theory and art practice shall highlight the political potential of Butler’s work and (...)
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  40.  12
    The Effects of COVID-19 Lockdown 1.0 on Working Patterns, Income, and Wellbeing Among Performing Arts Professionals in the United Kingdom. [REVIEW]Neta Spiro, Rosie Perkins, Sasha Kaye, Urszula Tymoszuk, Adele Mason-Bertrand, Isabelle Cossette, Solange Glasser & Aaron Williamon - 2021 - Frontiers in Psychology 11.
    This article reports data collected from 385 performing arts professionals using the HEartS Professional Survey during the COVID-19 Lockdown 1.0 in the United Kingdom. Study 1 examined characteristics of performing arts professionals’ work and health, and investigated how these relate to standardized measures of wellbeing. Study 2 examined the effects of the lockdown on work and wellbeing in the respondents’ own words. Findings from Study 1 indicate a substantial reduction in work and income. 53% reported financial (...)
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  41. Art as Performance.Dave Davies - 2003 - Wiley-Blackwell.
    In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights (...)
     
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  42.  15
    Charm and Speed: Virtuosity in the Performing Arts (review).Anthony J. Palmer - 2010 - Philosophy of Music Education Review 18 (1):101-106.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept (...)
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  43.  35
    V. A. Howard, Charm and Speed: Virtuosity in the Performing Arts.Anthony J. Palmer - 2010 - Philosophy of Music Education Review 18 (1):101-106.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept (...)
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  44.  36
    Interaction, narrative, and drama: Creating an adaptive interactive narrative using performance arts theories.Magy Seif El-Nasr - 2007 - Interaction Studies 8 (2):209-240.
    Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability (...)
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  45.  12
    Interaction, narrative, and drama: Creating an adaptive interactive narrative using performance arts theories.Magy Seif El-Nasr - 2007 - Interaction Studiesinteraction Studies Social Behaviour and Communication in Biological and Artificial Systems 8 (2):209-240.
    Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability (...)
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  46.  10
    Theatre as Contagion: Making Sense of Communication in Performative Arts.Małgorzata Sugiera - 2017 - Text Matters - a Journal of Literature, Theory and Culture 7 (7):291-304.
    Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of (...)
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  47.  44
    "Playing Attention": Contemporary Aesthetics and Performing Arts Audience Education.Monica Prendergast - 2004 - Journal of Aesthetic Education 38 (3):36.
    In lieu of an abstract, here is a brief excerpt of the content:Playing Attention":Contemporary Aesthetics and Performing Arts Audience EducationMonica Prendergast (bio)IntroductionThe spectator is an essential element of the kind of play we call aesthetic.1We all watch television. We all go to the movies. Some of us also attend live performances such as plays, concerts, operas, dance recitals, poetry or prose readings, and so on. What are the differences to be found among these experiences? The audience experience of (...)
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  48.  55
    Aesthetic Experience, Transitional Objects and the Third Space: The Fusion of Audience and Aesthetic Objects in the Performing Arts.Ian Woodward & David Ellison - 2010 - Thesis Eleven 103 (1):45-53.
    Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. In particular, we (...)
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  49.  8
    Exploration of Social Benefits for Tourism Performing Arts Industrialization in Culture–Tourism Integration Based on Deep Learning and Artificial Intelligence Technology.Ruizhi Zhang - 2021 - Frontiers in Psychology 12.
    As a product of the tourism performing arts industry in culture–tourism integration development, to develop a featured culture–tourism town is a new trend for tourism development in the new era. To analyze the social benefit of the culture–tourism industry, in this study, an artificial intelligence model for social benefit evaluation is constructed based on backpropagation neural network and fuzzy comprehensive analysis, with Yiyang Town taken as an example. The criterion layer in the model includes three indexes, and the (...)
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  50.  12
    The Time We Share: Reflecting on and Through Performing Arts—One Introduction, Three Acts, and Two Intermezzos.Daniel Blanga-Gubbay & Lars Kwakkenbos (eds.) - 2015 - Mercatorfonds.
    Marking the 20th anniversary of Belgium’s Kunstenfestivaldesarts—a major international arts festival—this ambitious book examines a wide range of critical perspectives on two decades of performing arts. The authors look closely at performing arts pieces from around the world to see what critiques and insights they reveal about society. Among the topics that these works address are the dialogue between history and memory, the development of a sense of community, the interplay between fiction and reality, and (...)
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