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dc.contributor.authorZamorska, Magdalena
dc.date.accessioned2014-06-03T07:10:56Z
dc.date.available2014-06-03T07:10:56Z
dc.date.issued2013-12
dc.identifier.citationM. Zamorska, Inżynieria doznań. Kognitywna improwizacja i emergentna choreografia Ivara Hagendoorna, "Didaskalia", nr 118, s. 127-132pl
dc.identifier.urihttps://depot.ceon.pl/handle/123456789/4426
dc.description.abstractEngineering Emotions. Ivar Hagendoorn’s Cognitive Improvisation and Emergent Choreography Magdalena Zamorska disagrees with some points made in Gabriela Karolczak’s article O choreografowaniu empatii i neuronach lustrzanych (A Few Arguments on Choreographing Empathy and on Mirror Neurons, “Didaskalia” 2012, no. 112). Zamorska argues that Karolczak misinterprets the basic assumptions of neuroesthetics. She refers to the theories of a Dutch choreographer, photographer and scientist, Ivar Hagendoorn, who carried out research on the neurological aspects of aesthetic experience in a specific environment of the reception of dance performance. The article summarises the theories concerning cognitive improvisation techniques inspired by the analytical method of dance improvisation created by William Forsythe. To this theory of the shaping of the dance patterns dynamics Hagendoorn adds some new principles which can prove useful in creating the emergent choreography – that is the system in which the synchronisation emerges as a result of the interaction of the individual dancing agents.pl
dc.language.isoplpl
dc.publisherInstytut im. Jerzego Grotowskiego we Wrocławiupl
dc.rightsDozwolony użytek
dc.subjectHagendoornpl
dc.subjectneuro dancepl
dc.subjectdance sciencepl
dc.subjectdancepl
dc.titleInżynieria doznań. Kognitywna improwizacja i emergentna choreografia Ivara Hagendoornapl
dc.typeinfo:eu-repo/semantics/articlepl
dc.description.epersonMagdalena Zamorska


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