Detalhes bibliográficos
| Ano de defesa: |
2017 |
| Autor(a) principal: |
Santos, Silvana Almeida |
| Orientador(a): |
Katz, Helena |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
|
| País: |
Brasil
|
| Palavras-chave em Inglês: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
https://tede2.pucsp.br/handle/handle/20690
|
Resumo: |
The increasingly frequent use of digital communication has produced cognitive changes that are manifested in social behavior. The ways in which we come to relate in the environments and between us echo other understandings for the concepts of mobility and place, public and private, participation, solidarity and commitment. The many information we voluntarily posted made us subject indexed (KATZ, 2015). It is in this condition that we now deal with live shows, of which we are the audience, and a configuration of what it is to be public of live shows today is becoming a communicational phenomenon that asks to be investigated. The object of this research is a set of live dance performances programmed by SescSP, and the purpose is to propose a way of thinking a programming taking into account as ongoing cognitive changes. The hypothesis is that institutions that schedule activities that depend on the presence of people can not ignore what has been happening in a world where on and off line is no longer distinguished and are subject to mobility devices establish other practices of displacement in the society. To identify what has changed in the relationship between audiences and live shows, the corpus will consist of the dance productions presented in the years 2015 and 2016, in the 36 Sesc’s equipaments in São Paulo, by interviews of technical assistants responsible for its programming and also the manager of Cultural Action. They cover a longer period, starting with the implantation of the dance language in the institution in 1992. In order to substantiate what is happening with the body in the current stage of capitalism will be employed the Corpomedia Theory (KATZ and GREINER) and authors of biopolitics ( In this paper, we present the results of a study of the results obtained by Meyer and Kirkland (2005), to guide a critical reading on the presence of technology, will be called MANOVICH, 2013; CARR, 2014; and ROSE, 2015; and to explore the cognitive transformations of the body, CHURCHLAND, 2013; and LAKOFF and JOHNSON, 1999, among others. The urgency justifying this research thickens because it is essential to involve the ongoing cognitive changes with dance schedules and notices that began regular production in São Paulo, understand the connection between these three axes ends up in choreographing socially (HEWITT, 2005). In this sense, the management that assumed the Municipal Department of Culture in 2017 performs another social choreography, which will impact future programming |
