Browsing by Subject "body"

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  • Kärki, Pietari (2020)
    This written thesis follows processes where social questions yield artistic practices, that I call tools. In addition to this document being a thesis, this is a journal, and an open access archive, and a toolkit. I have written this thesis keeping in mind a not-too-long-ago moment in time when I was working as a dancer and felt a desperation for the lack of tools and know-how to work with people in a way that is socially sustainable. Thus, this thesis works partly with questions that span much longer temporalities than the frame of these MA studies. I open the thesis with the question I seem to have embraced the longest in my life: what is it to be good to one another? Thus, my intention is to indicate how artistic questions are embedded in life. Structurally this thesis begins by laying background information and a proposal for a contextualization between the agents at hand, the reader and the writer (or as deliberately referred to in this thesis: ‘the grapher’). This is done as an attempt to set the situation of reading this thesis as an embodied place, in which the movements of the artistic questions and dilemmas can potentially be directly observed by the reader. After this I present my reading of my professional terminology: the notions of choreography, movement and body. My strategy of observing is presented throughout. The structure then goes on to ask artistic and social questions in turns, travelling through examples from each artistic project I have engaged in during the MA studies, with the main emphasis on my artistic thesis project Urban Anatomies Teleport, which is an initiative to investigate urban planning as corpus and choreography through walking and listening to music. One parallel throughout this thesis describes my hands-on attempts to find my way of working in collective processes as a choreographer, and another parallel deepens these questions into the soma and broadens them into a societal context. Throughout these pages I conceptualize a practice that seeks to use one’s ‘situated knowledge’ to cause micro-collapse within one’s situation, habitat, or system. I call this ‘situating and teleporting’. In connection to this, I introduce the tool of ‘t—here’, a sensory feeling of a shift, or a transition, or a teleportation. ‘T—here’ – derived from the ethos of ‘walking here rather than walking there’ – is an intersection of the writings referenced in this thesis by the researcher Sharanya Murali and the choreographer João Fiadeiro. In my queer experience, as the situation collapses a tiny bit, room for new movement within the situated self is released just a bit. And a micro-break-out of energy takes place. Teleporting in ‘situating and teleporting’ is a glimpse of ‘preacceleration’ (in Erin Manning’s sense), a means to trace fugitive momentums for change. How do we work together? How to form a question together? Where does a body end and a relation begin? How is one’s standing affecting their situated knowledge? How do I stand? How to greet a mountain? How are you? What if a question is approached as movement? What if moving is approached as asking? What is t—here already? How to facilitate an unknown audience? In a historical line of postmodern and contemporary choreography this thesis joins the gesture of asking what does ‘the operative’ in an artist’s work intend?
  • Gross, Toomas (2021)
    Recreational running has been a widely popular form of leisure for half a century, and many countries have experienced a marathon boom in the past decades. In recent years, however, runners have started to run in new ways, often in unconventional settings, and compete in races with various alternative formats. Through an ethnographic approach that builds on in-depth narrative interviews with recreational runners, analysis of runners’ blogs, and participant observation in running events in Estonia, I suggest that as completing a marathon becomes a routine activity, increasingly many dedicated runners turn their bodies into veritable “arenas of experimentation.” Drawing on Zeiler’s concept of bodily “eu-appearance” and Ingold’s concerted approach to movement, perception, and knowledge, and building more generally on Merleau-Ponty’s phenomenological perspective, I argue that such corporeal experimentation is motivated by novel sensorial experiences that lead to a heightened awareness of one’s own body as well as by a pursuit of altered and intensified perceptual awareness of the environment one runs in.
  • Fonseca Silva, Paulo de Tarso (Helsingfors universitet, 2017)
    This masters' thesis explored the use of the body, tools, and the environment in craftwork from an embodied cognitive perspective. More specifically the activity studied was wooden boatbuilding. Activity theory was used to map the elements and the dynamics of the wooden boatbuilding activity in relation to the object of work (a wooden gunboat). The research interests (related to body, tools and environment) were positioned among the different elements of the wooden boatbuilding activity (tools, subject, object, outcome, rules, community and division of labor) by following an activity theoretical structure. Previous research has shown that the abilities of the body are quite often overshadowed by the abilities of brain alone, even though cognition is embodied due to its dependency on the characteristics of the agent's physical body. The objective of this research was to seek further understanding on the position of the body and its role in an activity of craft with the use of tools and environment. By having an embodied cognitive perspective, the research looked at the types of materials from the environment that were applied for work, and how material artefacts have contributed to the body's performance during craft. In addition, the research took into account the characteristics of the work environment that enabled the body of craftsmen to work more efficiently. Specifically, the thesis captured a two-day data collection of videos and interviews in the dockyard of Suomenlinna Fortress, based on the method of ethnography. The data collection gathered material for the analysis of the craftwork on a wooden gunboat model, during a process of craft called caulking. For the analysis, the work of five subjects (wooden boat builders) was observed closely. The method applied for analysis of data was thematic analysis, which required a selective process of data, based on relevant or reoccurring themes identified throughout video files. The most representative themes of the activity were framed in sets of images for further interpretation, and in that way enabling the validation of themes and their relevance to the research questions. As a result, the themes identified in the activity of wooden boatbuilding were (1) the abilities of the body, (2) the limitations of the body, (3) the body and the process of sensing, (4) the affordance of tools, (5) tools as mediators, and (6) the affordances or the environment. All these themes were building blocks for conceptualising the role of the body in the craft of wooden boatbuilding, the role of tools in the craft of wooden boatbuilding, and how the environment is used in the craft of wooden boatbuilding. This research concluded that, while activity theory allowed a holistic understanding of a craft activity, such as wooden boatbuilding, embodied cognition was vital for conceptualising the role of the body as a starting point in relation to all elements of the activity, including tools and environment. In addition of certifying the usefulness of this combination (embodied cognition and activity theory), perhaps the most relevant finding of this research was the so-called APDCS (area of potential development of craft skills), which could contextualise the integration among body, tools and environment in the craft of wooden boatbuilding through the development of various tasks.
  • von Bagh, Jenni-Elina (2018)
    This written part of my final theses work focuses on my own choreographic work through a nomadic framing. I go through methodologies and principles in choreographing, that bring us closer to a question of non-identification, pre-individuality and nomadism. I am curious to consider the phase of my artistry as a transitional phase concerning my personal relationship to dance and choreographing but also considering a general atmosphere in philosophical discourses and art; a step from postmodern and poststructuralist discourses to the realm of new materialism and posthumanism. Through my writing and exemplification of my own artistic works, especially my artistic final work: a life -nomadic melodrama, I want to analyze how a co-resonance of specifically Gilles Deleuze’s philosophy influence and give support to artistic work and artistic thinking. In the first chapter I go through couple of general aspects in my choreographic working. I articulate three different perspectives that can be generalized as artistically valuable. These are such as translation as a choreographic method, semantic and somatic as compositional co-partners, and the question of body in the realm of becoming. In the second chapter I introduce theoretical backgrounds to my artistic working through philosophic concepts such as ”becoming”, ”assemblage”, ”nomadism” and ”a life” that specifically resonated in the way I approach my artistic work as non-essentialist. The third chapter is an investigation of my artistic final work a life -nomadic melodrama. First I elaborate some theoretical and artistic influences for the starting point of the process. Then I introduce some methodologies used in the process. I will also introduce the structure of the piece to exemplify how the before mentioned concepts concretize in this particular work. In the fourth chapter I go through certain nomadic principles that has affected especially the artistic process of a life - nomadic melodrama and my artistic thinking in general.
  • Dry storm 
    Lönnqvist, Tom (2018)
    The work Dry Strom, is the theoretical part of my thesis. It contains a theoretical frame work and a process description of my artistic part of the thesis, the piece Dry Strom. The theory of the work aims to create an understanding of how sound relates to the complex experience of thought and body. It uses theory of immersion, participatory creation, artistic work, human voice and phenomenology to do so. Within immersion it looks at how immersion within immersive theatre can be related to the experience of sound. The participatory theory is used to compare the theory of participatory theatre to an active listening experience. Within theories of artistic work, the text discusses how our subjectivity can be seen as problematic, and how it affects our experience of what we encounter. The human voice theory is used to bring a personal view of how voice relates to the experience of sound and silence, while a final phenomenological approach is used to tie together what has been discussed. Beyond this, there is a chapter aiming to give perspective on how we can relate to our body, in relation to our subjectivity, and through a more direct contact to our body, discussed throughout the text. The process description aims at opening up the process of creating the piece Dry Storm. Parts of the piece are opened up as part of the theory as an opening to comparison. Further, the process description discusses the process in relation to the participants of the process. The process description also looks into the sounds used within the performance and ends by forming a reaction to the process in relation to the theoretical frame. The text ends by introducing a theory for possible further studies.
  • Pavlyshche, Tereza (Helsingin yliopisto, 2019)
    Fashion blogs are invention of the new millennia. Starting with something as simple as commenting on the outfit or a fashion event using this online medium, modern bloggers transformed it now into a successful business venture and a massive network for sharing ideas, tips and personal struggles with their followers. Thus, nowadays, a successful fashion blogger can be anything from a minor celebrity in the blogosphere, to a major international influencer in the fashion industry. Being personally fascinated by the way modern fashion bloggers run their blogs and manage to create a personal brand, I have decided to focus my research on creation of an online identity fashion bloggers go through whilst managing their personal blogs. Intentionally, or unintentionally personal fashion bloggers develop a certain type of writing and content creation that allows them to connect to many people. Fashion bloggers try to produce an idea that will guarantee them professional success. However, their personal background partially already set them up to be more connected to a certain group of people rather than the other. It is visible in their looks, ethnicity, lifestyle, personal interests and in opinions what type of people would be the majority of their followers. As a results, the network of followers that will be build by the blogger will determine what type of content she will be producing to attract even more readers. This is what will be discussed in this thesis: how fashion bloggers behave and what they primarily focus on in their blogs to keep up the online persona they are constructing.
  • Näkki, Iiro (2018)
    This written thesis is an analysis of my artistic thesis work provide from 2017. The thesis outlines a multiplicity of frameworks included in the making of provide and situates those frameworks into wider discourses. In doing so, the thesis presents the analysis of one’s own artistic work as a form of self-reflection that both generates understanding and, simultaneously, re-structures the original artistic work. The oldest included parts of this thesis were written in May 2017, the most recent chapters being from March 2018. The structure of the thesis starts from the most recent, moving towards the oldest: the text proposes a return towards its initiative. However, this flow of time is not exact. Old chapters have been re-written and more recent chapters have been built on some of the very first texts. Through its structure, this thesis presents its own writing process as one of continuous re-writing, reflecting the artistic process of its analysis. Both this thesis and the artistic thesis work provide are then similar in that they both contain a possibility to pay attention to the complexity of time and to address the transformation from a place to another. They both try to contextualise their situation, and to understand the frameworks they operate in and through. These frameworks are presented as a fragmentary, yet creating coherence in their interconnections. In the first section Themes, Methods, Interests I open up two central interests of provide and this analysis: the process of artistic creation as building a place for choreographic work to appear in, and acts of re-enactment as a means to research ideological realms of text or performance. The first of these interests I discuss alongside texts of Edward S. Casey and Marc Augé. The latter I discuss through all the artistic creations realized during my MA studies in the programme of choreography. In the middle section I discuss provide concentrating on spatiality and score. I attempt to situate the piece in the genealogy of installation art and to depict the dramaturgical whole of the performance in relation to the spectator alongside texts of Claire Bishop, Kirsten Maar and Christian Teckert. I also decompose the work to present its segments one at a time. Towards the end of this thesis, I open the thought context of the work, building on William Forsythe and Hans-Georg Gadamer. The text is concluded with a “speculative preface” written before starting to work on provide.
  • Georgiou, Christina (2013)
    Mapping the Body, Embodying the Map: A corporeal taxonomy into a topographical transformation at the border of Nicosia is a project realized along and across the buffer zone within the Venetian walls of Nicosia, the capital city of Cyprus. The focus of this project is the area that divides the city into two parts and it has been mentioned as buffer zone, green line, borderline, dividing line, dead zone and many more. This restricted area has activated not only physical barriers for people but also caused emotional and mental restrain. The motivation is my wish to reveal the significance of this area and uncover the impact it creates on the body: physical, mental and emotional. Also my intention is to deform and reconstruct the psychophysical perceptions of the dividing line through artistic means. The approach and method of working consists of artistic research, and a practical and theoretical framework. I have used live performance as my creative technique to realize a series of site-specific performance interventions along and across the Nicosia buffer zone in order to generate knowledge about that area, examined in my research. In addition, the written part of this project includes a description and analysis of my artistic work at the border, supported with theories focusing mainly on José Esteban Muñoz’s work, “Disidentifications” (1999) and Sarah Pink’s “Doing Sensory Ethnography” (2009). This thesis project questions: How the conventional idea of the border and its solidified historicity can be transformed to a new perception through performing, while bringing a psychophysical transformation to this experience? To come to an answer, the body is used as a tool to create live actions and the Nicosia border is used as a site to be experienced through non covnentional ways. Finally, the outcome is an experiential mapping, which is shaped while the body is used to measure, archive, experience and re-experience, and therefore memorize the border anew.