Daniella Aguiar

... Page 6. AGRADECIMENTOS A João Queiroz, Ivani Santana, Rita Aquino, Alexandre J. Molina, Jorge Alencar, Duto Santana, Eleonora Santos, Lucia Naser. A Vanildo, Miriam, Tata, Digo, Rafa. Aos alunos e professores do Programa de Pós-Graduação em Dança da UFBA. ...

The scope of this dissertation is the relation between the poetic-prose of American writer Gertrude Stein, through her portraits and plays, and its intersemiotic translations to contemporary dance. The analytic corpus articulates Gertrude Stein’s portraits “Orta or One Dancing”, “If I Told Him: A Completed Portrait of Picasso”, “A Valentine to Sherwood Anderson”, and plays Four Saints in Three Acts, Listen to Me and Three Sisters Who Are Not Sisters and the dance performances [5.sobre.o.mesmo], Shutters Shut, Always Now Slowly, ,e[dez episódios sobre a prosa topovisual de gertrude stein]. The nature of the compared fields – literature and dance – demanded the combination of two strands of study related to the performative and translational specificity of the selected objects: on one hand, we follow a derivation from the traditional comparatistic, the Interart Studies or Comparative Arts; on the other hand, Intermediality Studies, related to Media Studies. The approach applied to the examples under a comparatistic perspective is based on Translation Studies, with special reference to Haroldo de Campos’s notion of transcreation, and it is also based on Charles S. Peirce’s semiotics. On the first chapter, we define our theoretical approach; following, we present Gertrude Stein’s oeuvre and its major properties that transformed it in the one of the main literary and aesthetic references of the twentieth century; and, to finish, we analyze the translations, with special regard to the transcreation of Stein’s time perception and syntactic constructions. We conclude suggesting that the translations to dance are interpretation and reading modes of the literary texts, as well as radical forms of literary and artistic critic.

Resumo: Em seu romance de estreia, Gustave Flaubert fez uso de recursos estilísticos e estratégias narrativas que transformaram Madame Bovary em um dos mais importantes textos da narrativa moderna. Há diversas adaptações cinematográficas desta obra, certamente devido a sua importância e a seu enorme sucesso. A questão que trataremos neste artigo está relacionada à transposição de certos aspectos da escritura de Flaubert, e do contexto de sua obra, para adaptações cinematográficas dirigidas por Jean Renoir e Claude Chabrol. Palavras-chave: Madame Bovary; Gustave Flaubert; Jean Renoir; Claude Chabrol; Adaptação cinematográfica. Abstract: In his opening novel, Gustave Flaubert uses diverse stylistic devices and narrative strategies that will transform Madame Bovary in one of the most important texts of the modern narrative. There are several cinematographic adaptations of this literary work, probably because of its importance and its enormous success. What we will focus on this article...

Em seu romance de estreia, Gustave Flaubert fez uso de recursos estilisticos e estrategias narrativas que transformaram Madame Bovary em um dos mais importantes textos da narrativa moderna. Ha diversas adaptacoes cinematograficas desta obra, certamente devido a sua importância e a seu enorme sucesso. A questao que trataremos neste artigo esta relacionada a transposicao de certos aspectos da escritura de Flaubert, e do contexto de sua obra, para adaptacoes cinematograficas dirigidas por Jean Renoir e Claude Chabrol.

La creatividad artística puede ser observada como una propiedad de la manipulación de artefactos cognitivos. Más específicamente, está distribuida a través de artefactos cognitivos, como oportunidad para la emergencia de entidades y procesos sorprendentes. En danza, la manipulación de nuevos artefactos cognitivos, como técnicas de danza, softwares, notaciones, lleva a la transformación de “espacios conceptuales” (simples). Cuando se producen nuevos artefactos, o se usan oportunamente en nuevos contextos, observamos lo que Margaret Boden denomina “creatividad transformacional”. Enfocamos nuestro trabajo en cómo la introducción y manipulación de nuevos artefactos en ejemplos históricos, contribuye a la transformación de los espacios conceptuales de la danza.

The phenomenon of intersemiotic translation (IT) represents a special creative domain of language procedures and practices. Hypothetically it involves a radical change of habits of interpretation and new forms of sign manipulation. Despite its theoretical relevance, and in spite of the ...

VIA is a mobile art project (video-dance and computational music) semiotically translated to photographic media by means of formal constraints derived from selected properties of Rio de Janeiro’s predefined downtown routes. Under the constraints of street buildings and the morphology of the routes, questions regarding the influence of the bodily movements of the urban space led to the creation of a dance typology. This typology is related to pedestrians in the area and to the structure of the buildings spans where the performance happened. The dance movements captured in the videos were restricted and regulated by the physical environment and its main features. Here, an intersemiotic translation of a mobile art project to a photographic essay is presented and described. It strongly relates, and tentatively explores, both an artistic research praxis and a theoretical discussion. The essay explores an analogous semiotic effect from the VIA project on the photographic essay as a result of this investigation.

Descrevemos neste artigo um experimento de tradução intersemiótica, o espetáculo [5.sobre.o.mesmo]. Trata-se de uma tradução para dança de um fragmento da prosa de Gertrude Stein, “Orta or One Dancing”. O espetáculo pode ser descrito como um “laboratório de tradução” criativa em que foram exibidos os resultados de cinco criadores-intérpretes, além dos resultados do músico e do arquiteto. O principal objetivo do projeto foi tornar explícito os processos de recriação da obra de Stein, ao mostrar comparativamente diferentes repertórios e estratégias, sobre o mesmo texto. Here we describe an experiment on intersemiotic translation: [5.sobre.o.mesmo]. This dance piece translates a literary portrait by Gertrude Stein, “Orta or One Dancing”. It can be described as a creative “translation lab” exhibiting the results of independent translations by five dancers/choreographers, also by the composer and the architect. The main objective of this project was to make explicit the processes of Stein’s text recreation, when it comparatively exhibits different repertoires and strategies, on the same source.

Neste texto pretendo chamar atencao para a relacao entre o treinamento do dancarino contemporâneo e o seu caminho estetico, buscando uma  aproximacao entre essas duas  instâncias. Ao observar diferentes criacoes  de danca contemporânea e possivel destacar uma gama de padroes  motores e de organizacoes esteticas substancialmente diversificadas. Em  espetaculos nos quais ha uma tecnica de movimento reconhecivel no universo da danca, como, por exemplo, bale  classico, tecnica de Cunningham, tecnica de Limon, nao se levanta a questao de como  os  dancarinos realizaram seu treinamento ja que e possivel identificar as tecnicas correspondentes por referencias aos seus codigos de movimentos. Entretanto, quando os corpos nao demonstram  de quais  tecnicas  vieram  suas habilidades, por nao nos apresentar um codigo reconhecivel, torna-se mais dificil tracarmos uma linha  entre  a formacao  desses  dancarinos  e seus movimentos na cena.

... Page 6. AGRADECIMENTOS A João Queiroz, Ivani Santana, Rita Aquino, Alexandre J. Molina, Jorge Alencar, Duto Santana, Eleonora Santos, Lucia Naser. A Vanildo, Miriam, Tata, Digo, Rafa. Aos alunos e professores do Programa de Pós-Graduação em Dança da UFBA. ...

Traducao intersemiotica e um fenomeno de multimodalidade semiotica envolvido em processos fundamentais de comunicacao multimodal, de ostensao verbal, abrangendo diversos fenomenos de intersemiose e incluindo fenomenos visuais, hapticos e sonoros. Para fornecer um framework as questoes sobre traducao intersemiotica, propomos um modelo a partir da nocao de semiose (acao do signo) de Charles S. Peirce e do estruturalismo hierarquico de Stanley Salthe.

A criatividade artistica pode ser observada como uma propriedade da manipulacao de artefatos cognitivos. Mais especificamente, esta distribuida atraves de artefatos cognitivos, como oportunidades para a emergencia de entidades e processos surpreendentes. Quando novos artefatos sao criados, ou usados em novos contextos, observamos o que Boden chama de ‘criatividade transformacional’. Em danca, a manipulacao de novos artefatos cognitivos, como tecnicas de danca, softwares, notacoes, levam a transformacao de ‘espacos conceituais’ de danca. Interessa-nos como a introducao e a manipulacao de novos artefatos em exemplos historicos contribuem para a transformacao de espacos conceituais da danca.

The phenomenon of intersemiotic translation represents a special creative domain of language procedures because involves a radical change in habits interpretation and new forms of sign manipulation. The phenomenon was firstly defined by Roman Jakobson as transmutation of signs – «an interpretation of verbal signs by means of signs of non verbal sign systems». Despite its theoretic relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in general explanatory levels (conceptual modeling), as well as from the point of view of the logic of the semiotic processes involved in it. Here we propose an approach based on Charles S. Peirce’s pragmatic philosophy of sign and Stanley Salthe’s hierarchical structuralism, and suggest a preliminary division in classes and modalities of translations with examples involving literature and contemporary dance. We defend a perspective according to which translations involve iconic relationships (ana...

What are the main difficulties facing us when we attack the problem of translation? There is a tendency to assume that we are dealing here with multi-faceted, complex processes involving many levels of organization and description (cultural, semiotic, economic, cognitive, psychological, social, political), and one feels inclined to approach the problematic via multiple different perspectives and methodologies. The relevant position that different levels of organization (and the internal laws that regulate the levels) have in translation phenomena must surely be considered one of the most important theoretical challenges in semiotics. An integration of several modes of description (e.g. cognitive, cultural, social) in internally consistent explanatory models must be considered another major challenge in terms of the theoretical approach to the problem. This special issue of APPLIED SEMIOTICS/SEMIOTIQUE APPLIQUEE is dedicated to translation. The contributors include specialists from a...

A criatividade artística pode ser observada como uma propriedade da manipulação de artefatos cognitivos. Mais especificamente, está distribuída 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, notações, 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.

In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden's 'transformational creativity' category. To develop our argument, we consider Boden's fundamental notion of 'conceptual space' as a regular pattern of semiotic action, or 'habit' (sensu Peirce). We exemplify with Gertrude Stein's intersemiotic translation of Cézanne and Picasso's proto-cubist and cubist paintings. The results of Stein's IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden's framework to describe a cognitive creative phenomenon with a philosophically robust theory of meaning results in a cogni-tive semiotic account of IT.

We present the mobile art project VIA, which combined mobile technology, video-dance 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.

Do modernismo literário de " Macunaíma " " para o herói: experimentos sem nenhum caráter " Daniella Aguiar 1 (UFJF) RESUMO: Formas diversas de associação entre literatura e dança são descritas e analisadas por muitas tradições acadêmicas. A dança, como um complexo fenômeno de linguagem, aparece em prosa, obras de ficção, e em poesia; inversamente, observa-se a inserção de textos literários em obras coreográficas. A atuação criativa de poetas na concepção de espetáculos de dança éoutra atividade historicamente consagrada, além de sistemáticas reflexões a que muitos escritores se dedicaram; há, finalmente, a criação de espetáculos híbridos em que diversos sistemas se combinam em instalações verbivocovisuais. Este trabalho se concentra em uma categoria específica deste fenômeno, que são os processos que envolvem uma relação direta entre uma fonte literária e um determinado resultado coreográfico. Muitos têm definido esta categoria como " tradução intersemiótica...

Gertrude Stein is considered one of the most radical literary experimentalists of twentieth-century literature. Here we focus on how repetition and time in Stein’s work are intersemiotically translated in two contemporary dance pieces, Always Now Slowly (2010, by Lars Dahl Pedersen) and ,e [dez episóodios sobre a prosa topovisual de gertrude stein] (2008, by Jo˜ao Queiroz, Daniella Aguiar, and Rita Aquino).

A prosa de Gertrude Stein surge de um denso diálogo com o cubismo de Cézanne e Picasso, e com o “fluxo do pensamento” de William James. Parte, entretanto, da crítica insiste em interpretar os efeitos da repetição como redundância, razão de seu maior “defeito”, e a “não figuratividade” de suas experiências como abstração do referente, cuja implicação imediata é sua “perda”. Para abordar a prosa de Stein, dois grandes tópicos (não excludentes) devem ser melhor explorados: a relação dos experimentos mais radicais com o cubismo analítico; duas das principais propriedades do “fluxo do pensamento”, continuidade e mudança, e suas consequências.

The scope of this dissertation is the relation between the poetic-prose of American writer Gertrude Stein, through her portraits and plays, and its intersemiotic translations to contemporary dance. The analytic corpus articulates Gertrude Stein’s portraits “Orta or One Dancing”, “If I Told Him: A Completed Portrait of Picasso”, “A Valentine to Sherwood Anderson”, and plays Four Saints in Three Acts, Listen to Me and Three Sisters Who Are Not Sisters and the dance performances [5.sobre.o.mesmo], Shutters Shut, Always Now Slowly, ,e[dez episódios sobre a prosa topovisual de gertrude stein]. The nature of the compared fields – literature and dance – demanded the combination of two strands of study related to the performative and translational specificity of the selected objects: on one hand, we follow a derivation from the traditional comparatistic, the Interart Studies or Comparative Arts; on the other hand, Intermediality Studies, related to Media Studies. The approach applied to the examples under a comparatistic perspective is based on Translation Studies, with special reference to Haroldo de Campos’s notion of transcreation, and it is also based on Charles S. Peirce’s semiotics. On the first chapter, we define our theoretical approach; following, we present Gertrude Stein’s oeuvre and its major properties that transformed it in the one of the main literary and aesthetic references of the twentieth century; and, to finish, we analyze the translations, with special regard to the transcreation of Stein’s time perception and syntactic constructions. We conclude suggesting that the translations to dance are interpretation and reading modes of the literary texts, as well as radical forms of literary and artistic critic.

"Intersemiotic translation is a semiotic multimodality phenomenon. It is involved in fundamental processes of multimodal communication, verbal ostension, and it covers several phenomena of intersemiosis, including visual, haptic, and sound phenomena. In order to develop a theoretical framework regarding questions concerning intersemiotic translation, we propose a explanatory model based on Charles S. Peirce's notion of semiosis (action of sign) and Stanley Salthe's hierarchical structuralism.
Keywords: Intersemiotic translation. Semiosis. Sign. Charles Sanders Peirce. Hierarchical structuralism."

The phenomenon of intersemiotic translation (IT) represents a special creative domain of language procedures and practices. Hypothetically it involves a radical change of habits of interpretation and new forms of sign manipulation. Despite its theoretical relevance, and in spite of the frequence in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Indeed, the phenomenon of IT is difficult to characterize and compare with analogous phenomena (interlingual translation). As it involves systems of rather distinct nature, its analysis creates additional difficulties in any theoretical approach compromised with the logic of semiotic processes. This work proposes an approach based on Charles S. Peirce’s model of sign process, to provide a preliminary conceptual framework to the phenomena, emphasizing hierarchical properties and aspects. One of the consequences of our approach is the importance ascribed to the materiality and dynamic involved in IT, prioritizing the semiotic properties of hierarchical relations between the source and the target signs.

"Técnicas de dança podem ser descritas como artefatos cognitivos, ou mediadores epistêmicos, incrementando seus usuários com novas habilidades cognitivas. As técnicas projetam paisagens semióticas de complexos comportamentos motores relacionados a diferentes níveis de artefatos materiais (espaço tridimensional, sons e música, luz, etc), dando origem a estratégias orientadas para a manipulação de signos. Vamos introduzir aqui esta perspectiva e explorar preliminarmente algumas de suas consequências.
Palavras-Chave: cognição, artefatos, dança, arte."

Proceedings of the 1st International Conference on Intermediality 2014, Juiz de Fora, Minas Gerais, Brazil, from 22 to 24 October 2014. It was a jointly organization by the Graduate Programs “Literary Studies”, “Arts, Culture and Language”, and “Communication”, at the Federal University of Juiz de Fora.

Intersemiotic translation is considered here as a phenonemon between artworks, procedures and artistic movements, besides concepts and paradigms of different natures, not confined only to translations from one artwork into another. In this broad perspective, it relates to dance artistic processes in general. Here I aim to discuss strategies to promote a dialog between a developed theoretical approach, based on C.S.Peirce’s semiotic and Haroldo de Campos’s poetic translation, and the artistic practice in dance. To develop this dialog I will focus on two distinct contexts: university education environment and an artistic residence. I will describe and discuss tools and procedures in intersemiotic transltion in creative processes in both contexts, based on the mentioned theoretical approach.

Neste livro são abordados, de diferentes perspectivas, os fenômenos de intermidialidade, tradução, transposição e/ou adaptação intersemióticas. Os temas têm despertado interesse em muitas áreas -- literatura comparada, estudos de tradução, semiótica e semiologia, estudos das mídias, estudos de intermedialidade e interartes. Não é a toa. Fenômenos de mixmídia, multimídia, referência intermidiática, infestam com contundência sistemas e processos semióticos em todos os suportes e mídias conhecidos (cinema, vídeo e TV, música, dança, livros e fotolivros, mídias digitais, etc). Este livro trata de uma pequena porção destes fenômenos.

How technical trainings in dance create especific domains of problems, and how do they relate with creative and, more specifically, learning activities? We describe and analyse technical training in dance as cognitive artifacts collections, concept recently systematized by Andy Clark. Cognitive artifacts are non-biological artifacts that, when ‘coupled’ to the body-minds of their users, change, amplify or intensify innate cognitive habilities. They create certain problem domains and, at the same time, they work as short-cuts for the solutions of problems. The cognitive artifact concept allows, among other things, to explain ‘why’ and ‘how’ techniques, or artifacts, create conceivable and very especific and estructured problem domains, as well as some ways to approach and solve these problems. The main purpose of our analysis is to understand how technical training in dance create restricted domains of conceivable problems, besides specific proposals for solutions, phenomenon described as causal looping. We identify some kinds of relationships that can develop between artifacts in each training, and between artifacts and specific problems when they are ‘coupled’ to the dancers. We selected two technical trainings: classical ballet and Klauss Vianna techniques, examples of what Sylvia Faure has called, respectively, training based on a logic of 'discipline' and a logic of ‘singularity’. These two examples are often called ‘neutral’ or ‘base’ trainings. Based on our analysis, we discuss the ideas of ‘neutral’ and ‘base’ training. In accordance with the approach suggested and developed here we conclude that the concepts of ‘neutral’ and ‘base’ training are not sustainable. Finally, we explore some consequences of the application of the concept of artifact in different areas of research in dance.