JOAO FIADEIRO PDF

Do not show this message again. Google Chrome Web Browser's video policy changed since version 66 : Video playlist can't be played automatically. For the best experience of Numeridanse, we recommand you to use Mozilla Firefox. Artists, companies, organisations, production agencies, libraries and resource centres, local authorities, festivals, performance centres, arts councils and foundations, directors, associated professionals. Unlike more generic platforms, Numeridanse offers a platform dedicated to dance and is run by professionals — La Maison de la Danse and Centre national de la danse.

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Do not show this message again. Google Chrome Web Browser's video policy changed since version 66 : Video playlist can't be played automatically. For the best experience of Numeridanse, we recommand you to use Mozilla Firefox. Artists, companies, organisations, production agencies, libraries and resource centres, local authorities, festivals, performance centres, arts councils and foundations, directors, associated professionals.

Unlike more generic platforms, Numeridanse offers a platform dedicated to dance and is run by professionals — La Maison de la Danse and Centre national de la danse. Numeridanse is an internationally renowned site used by artists, arts professionals, journalists, researchers, teachers, dance enthusiasts, etc. Video content is only available through streaming and is not downloadable As a contributor, only you have the tools to export and share your public and private content.

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Present in collection s : Centre national de la danse. Video producer : Centre national de la danse. Integral video available at CND de Pantin. Fiadeiro, D. Applied to the production of a performance, the method of composing in real time puts great responsibility on the performer.

Each performer is thoroughly immersed in the method during several months of preparatory workshops and needs to be capable of managing the different moments of the action he or she will improvise, in harmony with the group situation that is developing. At the scene, Fiadeiro reserves the right to react himself to the group situation. His live interventions might be with the aim of emphasizing a performer's action, for example by defining the space where it will take place by means of adhesive tape, or intensifying it with a video recording.

He can also cause it to branch off by equipping a performer with an accessory which transforms the form and meaning of gestures and creates imaginary associations in its wake. The sound music, voice… , also handled live, introduce effects of distance or intensification in turn.

As for the audience, they are responsible for the essential task of constructing meaning out of what they see. It is true that no fixed one-to-one significance can be conveyed in a show composed in real time, as it reconstructs itself constantly from life, performance after performance. In Fiadeiro's vision, performer, choreographer and audience co-create the performance's meaning continuously. This shared responsibility is, in the choreographer's view, one of the most important political and philosophical implications of the method of composing in real time.

A large part of his formation was carried out between Lisbon, New York and Berlin, after which he joined the Dance Company of Lisbon and the Gulbenkian Ballet In he founded RE. AL, a centre for research and artistic residencies, which not only constitutes the basis for the creation and diffusion of his work but also hosts transdisciplinary events and supports emergent artists by organizing laboratories and artistic residencies.

His research and know-how, accumulated both as a dancer and as a choreographer — namely through composition and improvisation techniques —, is taking him closer to the kind of research pursued within science specially some of the research carried out in cognitive and complex systems science , as well as to the kind of work we can find in fields like economics or design.

In the past years, he has been invited to give talks, master classes, and act as a coach in various institutions connected with those fields. Since , the National Center for Dance CND has been making recordings of its shows and educational programming and has created resources from these filmed performances interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.

This Parcours questions the idea that contemporary dance has multiples techniques. A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation.

This parcours presents diff. Search videos. Title Choreographer. Your playlists. This video contains violence or nudity I understand Back to search. Promote your video collection. Retain ownership of your work.

Guaranteed access to an exclusive video collection. Share your account. Moving Numbers Swinston, Robert France. Add to playlists. Remove from your favorites Add to your favorites. Perhaps she could dance first and think afterwards Mantero, Vera France. Improvised choreography in cine-trance Improvised choreography in cine-trance Spain.

Faits et Gestes Dove, Ulysses France. Steptext Forsythe, William France. Sounddance Cunningham, Merce France. Fabrications Cunningham, Merce France. Rose - variation Monnier, Mathilde France.

Pas de ciel Montet, Bernardo France. Contemporary techniques Parcours. Centre national de la danse. Genesis of work Parcours.

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Joao Fiadeiro

Kernel is a new program in Google AI that applies cutting-edge research to create world-positive products and businesses that transform how people live, work, and play. Previously, he was a Product Manager in YouTube's Music team responsible for initiatives aimed at fostering a productive, creative and rewarding relationship between Google, the music industry and artists. Before joining the music team, he was a Data Scientist in YouTube's Strategy BizOps team responsible for providing business-critical insights using analytics, ensuring cross-functional alignment of goals and execution, and helping teams drive strategic partnerships and new initiatives forward. Awarded by the Oxford Internet Institute, the degree equipped me with an in-depth knowledge of Internet communications policy and regulation; social science methods and digital humanities.

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João Fiadeiro

This strategy, counter-intuitive for it radically questions our habits and patterns of behaviour, enables the relevance and coherence of our actions to get closer to those we find within emergent and self-organised biological or physical systems. Instead of focusing on what we expect or wish to get, the RTC proposes that we focus on the removal of the 'noise' that prevents us from reading a situation as it presents itself, as well as on the reduction of the 'friction' inherent to communication processes, which creates resistances to the fluidity and the lucidity of reasoning. The training of this method consists in providing the practitioner with the tools for him or her to accept 'giving up' her condition of 'creator', assuming a position of 'mediator' and 'facilitator' of what happens. His or her only 'creative act', in the frame of this method, is the mastery with which s he manages tension, the balance and potential of the material s he is working with, letting things happen by themselves, when they really have to. And the way we approach that training, that practice, is turning our focus away from the very decision, to direct it to the 'noise' settled in our bodies, namely under the form of 'habits', 'convictions', and 'expectations'. When that 'noise' is excessive, it works as friction and makes us waste time.

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