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¿Como vemos? : una introducción a la visión de la forma y el color

Este libro aborda el estudio de la visión humana y su inteligencia desde una perspectiva interdisciplinaria que opera en la zona de intersección de la semiótica, la filosofía, la psicología, la fisiología, la inteligencia artificial y las neurociencias en general. ¿Cómo vemos? Hace una descripción y una evaluación asistemática -y en estilo informal- de los enfoques actuales de la visión humana que incluye tanto la referencia al soporte biológico, al cómputo funcional, a las representaciones psicológicas, así como las imagenes semióticas. Al respecto, los autores ofrecen una clara y concisa introducción que nos exige conocimientos previos, por lo tanto, este volumen ha de resultar de gran utilidad para quienes desean iniciarse en el conocimiento de esta facultad humana, de manera escolarizada, o libre, en las áreas de diseño, las artes y la cultura visual en general.

 

 

 

     
 

 

   

Introducción a la historia de las artes

El objetivo de este libro es presentar un panorama organizativo de la historia de los principales estilos visuales y sonoros. Tratando de unir las prácticas artísticas con otros elementos de la cultura, se brindan elementos para la comprensión de las mismas en articulación con otras prácticas e ideas que integran su ambiente de producción y recepción.

 

 

 

     
     

Beyond Words : Movement Observation and Analysis

Beyond Words presents a range of illuminating approaches to examining every day social interactions, to help the reader understand human movement in new ways. Carol-Lynne Moore and Kaoru Yamamoto build on the principles that they expertly explored in the first edition of the book, maintaining a focus on the processes of movement as opposed to discussions of static body language. The authors combine textual discussion with a new set of website-hosted video instructions to ensure that readers develop an in-depth understanding of nonverbal communication, as well as the work of its most influential analyst, Rudolf Laban. This fully-revised, extensively illustrated second edition includes a new introduction by the authors. It presents a fascinating insight into this vital field of study, and will be an invaluable resource for scholars and practitioners in many activities, from performing and martial arts, athletics, to therapeutic and spiritual practices, conflict resolution, business interactions, and intercultural relations.

 

 

 

     
     

Beyond Words: Instructor's Manual

This guidebook is designed to facilitate the use of'Beyond Words'materials. By drawing on their own teaching experiences, the authors offer suggestions for attaining teaching/learning goals, and for overcoming difficulties in using the movement observation and analysis programme. Many of the creative adaptations described come from individuals at different institutions who tested 'Beyond Words' while it was being developed. It is not intended, therefore, as a prescriptive document, but rather as a guide which provides many alternative ways of utilizing 'Beyond Words', and which leaves the rest to the instructor. The overall purpose of this book is to enhace the understanding of human body movement. It is widely recognized now that words represent only a small proportion of the total range of human communication.

 

 

 

     
     

A Life in Storytelling : Anecdotes, Stories to Tell, Stories with Movement and Dance, Suggestions for Educators

A Life in Storytelling contains the reflections and lessons from one of the most noted storytellers of our times. Fifty years of storytelling has provided Binnie Tate Wilkin with the experiences and insights to form the basis of a text for the storyteller, both for the professional librarian, teacher or parent wanting to provide children with substance through story. The sections of the book are designed to provide background material for the art and craft of storytelling, the methods and uses of storytelling, sources and examples of stories, and a broad selection of over 100 stories briefly annotated.Included are sections that explain how to derive or adapt stories from current events, history, or imaginative writings and a detailed treatment in the use of dance in storytelling, a technique that, if not invented by Wilkin, has become a trademark of her approach. The treatment is always informal and personal and is interleaved with anecdotes drawn from the author's more than 50 years of storytelling.

 

 

 

     
     

Bodies of Sound : Studies Across Popular Music and Dance

From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music, which is imagined here as'bodies of sound'. The volume provokes a wide-ranging, interdisciplinary conversation that includes scholarship from Asia, Europe and the United States, which explores topics from the nineteenth century through to the present day and engages with practices at local, national and transnational levels. In Part I: Constructing the Popular, the authors explore how categories of popular music and dance are constructed and de-stabilized, and their proclivity to appropriate and re-imagine cultural forms and meanings. In Part II: Authenticity, Revival and Reinvention, the authors examine how popular forms produce and manipulate identities and meanings through their attraction to and departure from cultural traditions. In Part III: (Re)Framing Value, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized through popular music and dance. And in Part IV: Politics of the Popular, the authors read the popular as a site of political negotiation and transformation.

 

 

 

     
     

Elements of Performance : A Guide for Performers in Dance, Theatre and Opera

It discusses her theories of the primary and secondary elements of the art of performing. The primary elements are Emotion, Motivation, Focus and Dynamics and the secondary are those of the craft: stage props, hand props, cloth of different length and weight, Chinese ribbons, costumes and stage deportment. 

 

 

 

 

     
     

Hybrid Lives of Teaching Artists in Dance and Theatre Arts : A Critical Reader

The role of the hybrid artist-educator in schools and communities over the past fifty years has evolved significantly. Although education reform and political pressures during the last five decades have frequently interrupted steady and sustained arts education programming in the United States—especially in theatre and dance—the teaching artist today performs an important role in numerous educational contexts. Over the past fifteen years, the work of teaching artists has received growing professional attention and research: the Association of Teaching Artists (ATA) was founded in 1998 to support, advocate for, strengthen and serve the teaching artist profession. This volume, focused on teaching artists in dance and theatre disciplines, expands this developing area of inquiry and reveals topographies for teaching in and through these arts disciplines that have, until this text, been examined separately. Directed toward the last decade's growth and professionalization, the book asks: where and how is teaching artistry in dance and theatre happening? What is guiding, supporting, or complicating the work of teaching artists in dance and theatre arts today? What training and preparation do teaching artists receive? How do teaching artists effectively address the cultural diversity of the communities they serve? What are the political and economic influences that impact the work and delivery of teaching artistry? What has been learned on a large scale about the hybrid lives and work of teaching artists in dance and theatre arts? In sum, what is the status of the teaching artist today? This book examines pedagogical, artistic, and professional issues for two performing arts disciplines by using the voices and experiences of each form's practitioners and those who prepare them.

 

 

 

     
     

En torno a los orígenes del Cante Flamenco

En torno a los orígenes del cante flamenco es un ensayo histórico sobre flamencos, no sobre música; ni siquiera sobre música flamenca, sino sobre flamencos: intérpretes del cante flamenco. Obra inducida por una afirmación de un flamenco: Juan Talega. Decía Juan Talega:'Echando este pueblo fuera (Morón) éste, éste, cuando se coge el tren pa Sevilla, digo pa Cái, no me gustan las desviaciones, sino todos los pueblos rectos por esa misma vía, ese mismo ferrocarril. Sarvo excepciones, que es sólo Morón, sólo ¿eh? Me gusta Utrera, me gusta Lebrija, me gusta Las Cabezas, me gusta Jerez, El Puerto, los otros hasta Cái; desviaciones ninguna, pero ninguna absolutamente; …'Se estaba refiriendo al domicilio de familias cantaoras. Para Juan Talega esto era un hecho. La vivencia de Juan Talega nos indujo a crear una base de datos de cuantos cantaores profesionales de flamenco se tenía algún tipo de registro: sonoro o literario. Los datos importantes eran: lugar de nacimiento; actividad laboral previa a su dedicación profesional; antecedentes familiares, etc.. Nos dice Humboldt en 1799:'Pepe, bailaor de volero del teatro de Málaga, igualmente delgado, de mejillas flácidas, con el aspecto de uno que, sin llegar a estar enfermo, está cansado por tanta vida nocturna. Se habló de él como de una persona que sólo vivía del canto y la danza.'Este es el flamenco que estamos inventariando, el que vive del cante; no el que vive de la danza o el toque (de guitarra), sólo del cante. Y no es que no sean flamenco los profesionales de la guitarra o el baile, lo son... Por supuesto que se anotan las opiniones de musicólogos e historiadores; entre otras la de Don Jualián Ribera Tarrego, quien en su obra La Música de las Cantigas Alfonso X El Sabio, señala 18 de ellas en compases flamencos; y su opinión:'... son seguiriyas gitanas, soleares, playeras, sevillanas floreadas,'cante hondo andaluz', etc.; y su tesis sobre esta música que, como cualquiera de las otras ciencias, -matemáticas, filosofía, medicina, física, etc. - había llegado al Occidente procedente del mundo clásico, del que un área importante de la Península Ibérica fue parte, tanto en su etapa fenicia como las posteriores griega y romana.'

 

 

 

     
 

   

 Ritmi di festa : Corpo, danza, socialità

Negli esseri umani la musicalità è una dote innata. Noi attraversiamo il tempo della nostra vita camminando, correndo, saltando, strisciando, toccando, scavando, tagliando, cucendo, bussando, carezzando, scrivendo, leggendo, parlando: sono tutte azioni che hanno intrecci ritmico-musicali. Il 24 dicembre 1914 sul fronte occidentale decine di migliaia di soldati nemici deposero spontaneamente le armi e celebrarono insieme il Natale. Un evento che colse del tutto impreparati gli alti comandi degli eserciti contrapposti. Come fu possibile, il giorno dopo, tornare a uccidersi? La festa non è forse prerogativa di una comunità, dunque impossibile tra nemici? Altri festeggiamenti inauditi, perfino nei lager e nei gulag, ci spingono a rileggere le stesse feste 'normali', per scoprire come un certo modo ritmico di stare insieme sia ben più che l'espressione di una futile nostalgia folkloristica: ha radici evolutive, attestate nella vita sociale dei primati nostri precursori, e corrisponde in termini sociali a quelle intense relazioni a due – tra madre e figlio, tra amanti, tra amici – che sono cardine di ogni esperienza vitale.

 

 

 

     
 

   

La danza de los íntimos deseos : siendo persona en plenitud

Este libro invita  a entrar dentro de si mismo, del consciente y del inconsciente, de los afectos y sentimientos y poder así evaluar y discernir las emociones del espíritu.

         

 

 

 

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