Apresentação do projeto Corpo Telesonoro

Bolsista da CAPES – Processo 9495-11-8

Grupo de Pesquisa Poéticas Tecnológicas / UFBA
Post Doctorate: Ivani Santana
Sonic Arts Research Centre / QUB
Advisor: Prof. Pedro Rebelo

Telematic Dance / Network Dance Performance
Dramaturgy of Tele-sonorous Body

Dança Telemática / Dança em Rede
Dramaturgia do Corpo Telesonoro


GP Poética / UFBA - Ivani Santana / Pedro Rebelo - Sonic Arts Research Centre / QUB


Ivani Santana
ivani.santana@pq.cnpq.br / ivani@ufba.br
i.santana@qub.ac.uk

Universidade Federal da Bahia

Institute of Humanities, Arts and Science
Prof. Milton Santos
_ Arts and Tecnology

Master and Ph.D in Dance,
Performance and Theater

Research Group of Technological Poetics
[GP POETICA]
www.poeticatecnologica.ufba.br

Map and Program of Digital Dance EU (2008)
[portuguese and spanish program] Museu de Arte Moderna da Bahia
Festival Internacional de Artes Cênicas
www.mapad2.ufba.br

Dança em Rede - Dramaturgia do Corpo Telesonoro


VERSUS
(2005)


GP POETICA TEAM:

Prof. Cristiano Figueiró (from Music)
Hugo Leonardo (from Dance)
Sandra Corradine (from Dance)
Felipe Andre (from Music)
Bruno Rodhe (from Culture Studies)
Messias Bittencourt (from Computer
Science)
Jacson Espirito Santo (from Arts)

Interdisciplinary expertise.





Beginning of beginning of
beginning of beginning of Body
beginning of beginning of
beginning of beginning of is
beginning of beginning of Sonorous.
beginning of beginning of So,
beginning of beginning of human body
beginning of beginning of as a
beginning of beginning of Sonorous
beginning of Body
beginning ..............





Body
is Dance Improvisation
Sonorous. Proposal Process
So, = ﬁxed rate ( amount)
human body +
free rate ( amount)
as a
Sonorous
[Processo de Propósitos]
Body





Objective:

investigate the possible
relationships between
“sonorities” produced by remote
bodies – the tele-sonorous bodies
– into sensible environments in
order to construct a Telematic
Dramaturgy.





Sounds of the city – Five Places (2012)
(Rebelo, Chaves, Meireles, McEvoy)

Ruth (Holywood)

“Recording the place brought both memories of
the past and new experiences. Standing,
listening to sounds is new to me to think
about, I couldn’t stand too long with my eyes
closed, I also wanted to see, but when you
don’t see the visual source of the sound it is a
new experience. (…) listening to sounds can
make us relive memories.”






Conor (Cricky)

“When I was practising I could only hear the
coach, but in the recording you can hear
everything, from kids in the far background to
the slight breeze. The thing I like most about
the recording is the amount of sounds which
my ears didn’t pick up. I think that the football
being kicked sounds the best, as the distance
affects the sound.”






Dearbhaile (Cave Hill)

“As I was recording, I could hear many different
sounds. Some stayed constant and others went
by, the water and rustling of leaves being
constant and the birds and people passing by
coming and going. It was much more magniﬁed
listening back to it through the headphones. It
was an unusual experience, but also
enjoyable.”






Eddie (Waterworks)

“My experience of recording with the
microphone wasn’t much diferent (…)
Listening back to the recording I could
only hear the water lapping, it showed a
small part of my experience of the
Waterworks but not everything.”





* Body (memories and integrated body)
* Hear
* (New perceptual) Experience
* Amplify / ampliﬁcation
* Disturber





• The idea is not (just) to see,
but to hear the remote body.

• “Sonorous dance” through
network performance
(sound visualization, at rather than body
visualization).

• Telematic dramaturgies through sonorities
generated by the remote bodies
(at rather than work with the body image – see my
contextualization).




Naveda,
L.
and
Santana,
I.
(2010).
Space,
music
and
body
dynamics
in

three
excerpts
of
dance
improvisa@on.
In
DRHA2010,
Presenta@on
in

Conference.
Brunel
University,
London,
UK..





Questions:
_ How, where, which is sonorous in the /
into the body?

_ How create a piece without
(arbitrary) representation?

_ Does every telematic piece have a dramaturgy
(tele-dramaturgy)?
_ If there is a tele-dramaturgy,
it has an speciﬁc structure, organization?
What and how?





Contextualization

Dance technology.
Dança com mediação tecnológica


C
o
r
p
o
2
0
A 0
b 1

e
r
t
o

“Close-‐circuit”
-‐
circuito
fechado
de
câmera

Casa
de
Nina
(2004)
Ivani
Santana

Scenic space as a system
(the rupture with the Italian theater and it’s understandings).

e
fez
o
homem
sua
diferença
(2005)
Ivani
Santana
/
GDC




Contextualiza@on

Network
Dance
Performace

Telema@c
Dance

Dance
of
Tele-‐Presence




Rede Ipê - Broadband of Academic Internet – RNP

GP POETICA

VERSUS
(2005)

Between
3 brazilian cities

Dance:
Salvador and
Brasilia

Music:
João Pessoa



VERSUS
(2005)




VERSUS
(2005)

“(In)TOQue”
(2008)

Other
bodies

rela@onship

Other

understanding

of
space-‐@me

Telema@ca:

Image
layers

“Por Onde Cruzam
Alamedas
(2006)

Por Onde Cruzam Alamedas

Layer 2
Dancers in first shot

Layer 1
Videoscenographie

Layer 3
Dancer on stage

(In)TOQue – 2008
Rio de Janeiro, São Paulo, Salvador

Body
as
screen

Le
moi,
Le
cristal
et
L’eau
(2007)

Centre
Na@onal

Choreograﬁca

Aix-‐en
Provence,
France

Telema@c
on
(regular)
stage

EU

(2008)

Ivani
Santana

Fes=val

Internacional
de

Arte
Cênica

EU (2008)
Museu de Arte Moderna da Bahia
Festival Internacional de Artes Cênicas


VERSUS
(2005)


“PELE”
(2002)
“ARTHRON”
(GTMDA/RNP, 2009-10)


VERSUS
(2005)

(New)bodies

Time(-‐space)

Tele-‐presence

“e_Pormundos Afeto” (2009,10,11)
Ivani Santana
GTMDA / GP Poetica / Konic Thtr


VERSUS
(2005)


Sonorities Layers:
Body/body
Body “to” environment
Environment “to” body


VERSUS
(2005)


What do really have a sound in the/into the body

Does my body produce sound (sonorities) when move?


VERSUS
(2005)


What relationship does the sound have (settle) with the body?
What relationship does the music have (settle) with the movement?
The ﬁrst movement is the heart beat: accion, sound/sonorities.body




• I changed the approach: it’s not the body that
produce a sound into an empty space, but it is a
sonorous environment that is disturbed from
the sonorous body;

• We have to create this sonorous environment,
that I call sonorous ﬁeld, in order to have
this piece;
Key words:
Ampliﬁcation
Disturber
Body
Environment


VERSUS
(2005)


Metaphor:

CONCHA (Latin)

KONKHĒ (Greek)
Shell (English)




• The sound inside the shell
is generated by air ﬂowing
through the shell - air
ﬂowing through the shell
and out creates a noise.

** However, this theory
doesn't hold true in a
soundproof room.

• The seashell just slightly
above your ear captures
this noise, which resonates
inside the shell.

Acoustics = Leyer 2




• Culture: strong
cultural
metaphor in Bahia
(i.e. religion-
candomblé,
Iemanjá)

CULTURE = LAYER 3




• Shell – as a body,
(exoskeleton)
• Shell that embodied
the outside
• Shell – there is
sound inside

Body = Layer 1.



_ Shell as a body metaphor:
*Spiral, Helix = as a movement,
** So, regularity, economy, minimum (Mies Van Der Rohe),
etc.;
*** As we have in Dervixes, Transe (both spiral), or even
in Butoh (minimum)
**** the same sound idea change, become complex (not
many sounds)

Sequence of Fibonacci
Number
Charles-Camille Saint-Saëns




Questions:

• What are the sounds to amplify from the
body, from the environment?
• Which are the best ways to amplify the
sound in order to agree with these
concepts?
• How to interact with the other tele-
sonorous body?




Proposal:

• Develop a serie of studies;
• “indoor” Studies;
• Telematic studies;
• To: amplify the body;
• To: disturbe the environment;
• To: spacialize the sound (sonorous reference of
the other – the remote tele-sonorous body)




Partners:
Ampliﬁcation
• Univrsidade do Porto (Guedes) (Acoustics
Anechoic Chamber and Music/Dance relationship)
• Ircam (?)

Body sensation
• Ricardo Jacinto e Beatriz Cantinho
(Acoustic ﬂoor dispositive)
• Marco Donnaruma (body dispositive)

Theoretical Approach (Cognitive Science – Embodied Mind)
• dinburgh University (Clark, Wheel)
E
• niverdity of Bologna (Pitozzi)
U




Softwares
Arthron 2.9
Jacktrip
Pure Data



Biblyography
CLARK,
Andy.
Beind
There.
Pu7ng
Brain,
Body,
and
World
Together
Again.

Cambridge,
London:
Bradford
Book,
MIT
Press.
1997

____________Natural
born-‐cyborg.
Oxford:
Oxford
University
Press.
2003

ECHEVERRÍA,
Javier.Teletecnologías,
espacios
de
interacción
y
valores.In:Teo-‐
rema,
n.II,
p.5.
1998

______________Los
Señores
del
Aire.
Telépolis
y
el
Tercer
Entorno,
Barcelona,

Des@no.
1999

HASSAN,
Robert
and
PURSER,
Ronald
E.
(ed)
24/7
Time
and
Temporality
in
the

network
society.
Stanford,
California:
Stanford
University
Press.
2007

HASSAN,
Robert.
Network
Time.
In:
24/7
Time
and
Temporality
in
the
network

society.
Stanford,
California:
Stanford
University
Press.
2007

NÖE,
Alva.
AcJon
in
PercepJon.
Cambridge:
MIT
Press.
2004

NUDDS,
Mahhew
and
O’CALLAGHAN,
Casey.
Sounds
and
Percep@on.
New

Philosophical
Essays.
Oxford
University
Press.
2009.

REBELO,
Pedro
and
SCHROEDER,
Franziska.
Sounding
the
Network:
The
Body
as

Disturbant.
In:
Leonardo
Eletronic
Almanac.
Vol
16
issue
4-‐5.
2009

RUSH,
Michael.
Novas
Mídias
na
Arte
Contemporânea.
São
Paulo:
Mar@ns
Fontes,

2006.

SCHAEFFER,
Pierre.
Solfejo
do
obcjeto
sonoro.
Lisboa:
INA
-‐
GRM
-‐
Groupe
de

recherches
musicales.
2007

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