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  • 1.
    Damkjaer, Camilla
    et al.
    Stockholms konstnärliga högskola, Institutionen för cirkus. CirkusPerspektiv Sweden.
    Marie-Andrée, RobitailleStockholms konstnärliga högskola, Institutionen för cirkus. CirkusPerspektiv Sweden.
    Action Research in Circus; Learning the Methods of Teaching the Methods of Artistic Research.2011Proceedings (redaktörskap) (Refereegranskat)
    Abstract [en]

    In 2011, circus as an art form had only recently entered into the circuits of artistic education at a university level and into artistic research. A working group at the Circus department Stockholm University of the Arts, formely knows as DOCH,  has been teaching, analyzing and documenting a particular course that concerned the methods of artistic exploration in circus. The purpose of the project was to address the following question: which pedagogical methods can we develop to prepare students for the methods of artistic exploration and research, specifically in circus? Or in other words: how can we learn the method of teaching the methods of artistic research in the field of circus? The described project was initiated and directed by Marie-Andrée Robitaille. This documentation was written by Camilla Damkjaer in collaboration with Marie-Andrée Robitaille and the presentation was made with the participation of circus students from the bachelor program in circus arts namely Nathalie Bertholio, Quim Giron Figuerola, Patrik Elmnert.

    Ladda ner fulltext (pdf)
    Artistic Research in Action
  • 2.
    Elblaus, Ludvig
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. (Sound and Music Computing).
    Robitaille, Marie-Andrée Robitaille
    Stockholms konstnärliga högskola, Institutionen för cirkus. Stockholms konstnärliga högskola, Forskningscentrum.
    Goina, Maurizio
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. (Sound and Music Computing).
    Roberto, Bresin
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. (Sound and Music Computing).
    Modes of sonic interaction in circus: Three proofs of concept2014Ingår i: Proceedings of the ICMC | SMC |2014 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference: Music Technology Meets Philosophy: From digital echos to virtual ethos / [ed] A. Georgaki and G. Kouroupetroglou (Eds.), Athens: The International Computer Music Association, The Sound and Music Computing Steering Committe, The Institute for Research on Music & Acoustics , 2014, s. 1698-1706-Konferensbidrag (Refereegranskat)
    Abstract [en]

    The art of circus is a vibrant and competitive culture that embraces new tools and technology. In this paper, a series of exploratory design processes resulting in proofs of concepts are presented, showing strategies for effective use of three different modes of sonic interaction in contemporary circus. Each design process is based on participatory studio work, involving professional circus artists. All of the proofs of concepts have been evaluated, both with studio studies and public circus performances, taking the work beyond theoretical laboratory projects and properly engaging the practice and culture of contemporary circus.The first exploration uses a contortionist’s extreme bodily manipulation as inspiration for sonic manipulations in an accompanying piece of music. The second exploration uses electric amplification of acoustic sounds as a transformative enhancement of existing elements of circus performance. Finally, a sensor based system of real-time sonification of body gestures is explored and ideas from the sonification of dance are translated into the realm of circus.

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    Modes of sonic interaction in circus: Three proofs of concept
  • 3.
    Robitaille, Marie-Andree
    Stockholms konstnärliga högskola, Institutionen för cirkus.
    Circus as a practice of hope: the last Human on Earth (is a circus artist). Sensing the world through circus arts2021Ingår i: Adventures in Circus Research– Facing a New Decade, s. 1-6Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    In times of climate catastrophe, refugee crises and Covid-19, the question of the responsibility that artists and scholars have is becoming increasingly urgent. What is the role of circus within society? How far does this form of art and entertainment correlate with historical and contemporary social interests? How does circus research position itself as a relevant field of research within academia in the 21st century? Those questions will be explored within the series Adventures in Circus Research– Facing a New Decade, curated by academic Dr. Franziska Trapp. By featuring circus researchers, we give them the space to explain the nature and significance of their research directly to the circus community and to highlight the practical impact of their research on the circus world and its relevance for society. 

    In the sixth article of the series, Marie-Andrée Robitaille, PhD at the faculty of Artistic research at Stockholm University of the Arts in Sweden, provides insights into her doctoral artistic project in which she searches for ethical alternatives to human exceptionalism in circus art.

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    Circus as a practice of hope
  • 4.
    Robitaille, Marie-Andree
    Stockholms konstnärliga högskola, Institutionen för cirkus.
    Circus as Practices of Hope2023Ingår i: Posthumanism in Practice / [ed] Daigle, Hayler, London: Bloomsbury Academic, 2023, 1, s. 114-132Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    Problematic assumptions which see humans as special and easily defined as standing apart from animals, plants, and microbiota, both consciously and unconsciously underpin scientific investigation, arts practice, curation, education, and research across the social sciences and humanities. This is the case particularly in those traditions emerging from European and Enlightenment philosophies. Posthumanism disrupts these traditional humanist outlooks and interrogates their profound shaping of how we see ourselves, our place in the world, and our role in its protection.

    In Posthumanism in Practice, artists, researchers, educators, and curators set out how they have developed and responded to posthumanist ideas across their work in the arts, sciences, and humanities, and provide examples and insights to support the exploration of posthumanism in how we can think, create, and live. In capturing these ideas, Posthumanism in Practice shows how posthumanist thought can move beyond theory, inform action, and produce new artefacts, effects, and methods that are more relevant and more useful for the incoming realities for all life in the 21st century.

  • 5.
    Robitaille, Marie-Andree
    Stockholms konstnärliga högskola, Institutionen för cirkus.
    Hope for the Future2022Ingår i: Voices ein Magazine des CircusDanceFestival, Vol. 3, s. 26-35Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Amidst the fourth industrial revolution, the sixth mass extinction, global warming, and a world pandemic, humans face an increasing amount of complex and challenging crises on planet Earth. Over the years 2020 and 2021, the performing arts sector has been paralyzed and now in 2022 we are oscillating between coming back to normal and moving to a new normal. Our modes of creation, production, and dissemination have been disrupted. On a larger eco-socio-political scale, during the pandemic, the impacts of human activities on Earth seem to have been made more distinctly visible, inviting us to ask: what does it mean to be human today? More specifically, however, the Covid-19 pandemic is forcing circus artists to revise how we work and think about circus arts. What does it mean to be a circus artist today? How can circus arts remain relevant? And what connections might circus arts have with the wider question of human involvement in the world?

    Ladda ner fulltext (pdf)
    Hope for the Future
  • 6.
    Robitaille, Marie-Andree
    et al.
    Stockholms konstnärliga högskola, Institutionen för cirkus.
    Bondesson, SaraFörsvarshögskolan.Mollvik, LiaStockholm University.Holmberg, AritaFörsvarshögskolan.Stenström, EmmaHandelshögskolan.Wadstein MacLeod, KatarinaSödertörn Universitet.
    Vulnerability as Virtuosity2022Proceedings (redaktörskap) (Refereegranskat)
    Abstract [en]

    The research cluster Vulnerability as Virtuosity is to collectively examine human and more-than-human vulnerabilities within

    the context of crisis, with a specific focus on exploring the following questions:

    - How are human responses and vulnerabilities understood and manifested across different

    fields and disciplines?

    - How can vulnerabilities be addressed fairly and sustainably?

    - What insights can be gained from human and more-than-human vulnerabilities?

    - How can the diverse knowledge on vulnerability from various fields be shared and

    leveraged?

    - What practices can be initiated to align vulnerability with a more sustainable and just

    world?"

    Ladda ner fulltext (pdf)
    Vulnerability as Virtuosity
  • 7.
    Robitaille, Marie-Andrée
    Stockholms konstnärliga högskola, Institutionen för cirkus.
    Circus as Practices of Hope: A Philosophy of Circus2024Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [sv]

    Mitt konstnärliga doktorandprojekt, Circus as Practices of Hope, är ett svar på den växande komplexitet som uppstår när den fjärde industriella revolutionen, den sjätte massutrotningen och vår tids ekologiska, sociala och politiska turbulens sammanstrålar. Vad innebär det att vara människa idag? Vad innebär det att vara cirkusartist idag? På vilket sätt är cirkus relevant i dagens sammanhang? 

    Kärnan i denna undersökning är påståendet att även om cirkuskonst har potential att främja betydande kunskap, vidmakthåller den samtidigt föråldrade världsbilder som begränsar dess gränsöverskridande potential. Med denna forskning undersöker jag alternativ till regressiva tankemodeller och kompositionssätt, i syfte att identifiera och formulera cirkusens inneboende epistemiska, ontologiska och etiska särdrag och deras relevans för att navigera och styra det pågående planetära paradigmskiftet.

    Jag genomförde min forskning genom förkroppsligade praktiker som cirkusartist, pedagog och utifrån perspektivet av att vara en människa på jorden. Min undersökning skedde genom Multiverse, en iterativ serie av kompositionella performativa experiment och diskursiva aktiviteter. Jag använde mig av kritisk posthumanism och neo-materialistiska filosofier för att utmana och utveckla min relation till risk, behärskning och virtuositet. 

    Projektet konceptualiserar cirkuskonst som nomadiska och fabulerande praktiker, och kulminerar i en serie konstnärliga, koreografiska och konceptuella verktyg och metoder som formulerar cirkuskonst inom och bortom dess disciplinära gränser. Projektet främjar en cirkusfilosofi som lyfter fram cirkusspecifik kinetisk, estetisk och förkroppsligad kunskap, och som lyfter fram cirkus som en hoppfull praxis inför framtiden.

    Ladda ner fulltext (pdf)
    Circus as Practices of Hope: A Philosophy of Circus
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    Artifacts
    Ladda ner (pdf)
    Registration Sheet
  • 8.
    Robitaille, Marie-Andree
    Stockholms konstnärliga högskola, Institutionen för cirkus.
    Reeh-Peters, Christine (Forskare)
    Filmuniversität Babelsberg KONRAD WOLF.
    Fee, Altmann (Utställningsansvarig, utställningskommissarie)
    Filmuniversität Babelsberg KONRAD WOLF.
    Fabulation for the Future2022Konstnärlig output (Granskad)
    Abstract [en]

    The collective artistic research project Fabulation for Future reflects on the change of perspectives and new ways of perceiving a world shaken by multiple crises in the context of the Anthropocene. In particular, climate change in conjunction with the novel coronavirus has led to controversial debates about the future and exposed the vulnerability of the human-Earth relationship. Considering this background, the project’s artistic research process designs a collective, critical rethinking of the human condition with the goal of finding artistic ways to create post-anthropocentric worldviews for a sustainable future in which human and non-human species can coexist in sympoiesis.

    The goal is to build a worldwide network of thinkers, artists and filmmakers who likewise affect and involve other actors. The envisioned network is to operate in the form of a fictive International Committee to Save the Earth through Speculative Fabulation, preparing discourses, artistic actions, fabulative concepts, speculative narratives, and videos that are presented in the digital online exhibition How to Become a Posthuman. The project emphasizes the new significance of digital proximity for our increasingly posthuman way of life.

    Christine Reeh-Peters and Fee Altmann started Fabulation for Future in September 2021 with an international online summer school Masterclass Artistic Research in Film and Philosophy hosted by the Film University Babelsberg KONRAD WOLF. Conceived as a combination of a five-day symposium Intra-Activity: the Posthuman, Fabulation and Matter and a five-day workshop, this summer school was the creative basis for the development of artitstic projects that will soon be presented in form of a joint online exhibition.

    Ladda ner fulltext (pdf)
    fulltext
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