textos sugeridos:
Dancing outside the box: O papel dos artefatos cognitivos na criatividade
Daniella Aguiar . João Queiroz
RESUMO A criatividade artÃstica pode ser observada como uma propriedade da manipulação de artefatos cognitivos. Mais especificamente, está distribuÃda através de artefatos cognitivos, como oportunidades para a emergência de entidades e processos surpreendentes. Quando novos artefatos são criados, ou usados em novos contextos, observamos o que Boden chama de ‘criatividade transformacional’. Em dança, a manipulação de novos artefatos cognitivos, como técnicas de dança, softwares, nota- ções, levam a transformação de ‘espaços conceituais’ de dança. Interessa-nos como a introdução e a manipulação de novos artefatos em exemplos históricos contribuem para a transformação de espaços conceituais da dança. Palavras-chave: Dança. Criatividade transformacional. Artefatos cognitivos.
Iconic semiosis and representational efficiency in the London Underground Diagram
Pedro Atã, Breno Bitarello and João Queiroz (Cognitive Semiotics 2014)
Abstract: The icon is the type of sign connected to efficient representational features, and its manipulation reveals more information about its object. The London Underground Diagram (LUD) is an iconic artifact and a well-known example of representational efficiency, having been copied by urban transportation systems worldwide. This paper investigates the efficiency of the LUD in the light of different conceptions of iconicity. We stress that a specialized representation is an icon of the formal structure of the problem for which it has been specialized. By embedding such rules of action and behavior, the icon acts as a semiotic artifact distributing cognitive effort and participating in niche construction.
Via: a collaborative project integrating mobile technology, video-dance and computer-assisted Composition in rio de Janeiro
Daniella aguiar, luiz e. Castelões anD João Queiroz Federal University of Juiz de Fora - 2015
abstraCt We present the mobile art project VIA, which combined mobile technology, videodance and computer-assisted music composition. Its main goal was to endow specific locations of Rio de Janeiro with video-dance and computer music performances, accessed through locative media. Summarily, any user equipped with a tablet or smartphone with an Internet connection had free access to multimedia pieces while moving through specific points of Rio de Janeiro. Two technologies were applied: QR code and HiperGeo. The music accompanying the videos derived from Computer-Assisted Composition (CAC), Computer-Generated Assistance (CGA) and ‘Sonification’-related approaches. The music can be interpreted as a sound iconization, based on a computational methodology and assisted by the software OpenMusic, of topological properties of the landscape used as background for the dance. At the end, we speculate on the consequences of a responsive mobile technology applied to art projects of investigative mapping of urban space.