{"id":60793,"date":"2007-05-10T00:00:00","date_gmt":"2007-05-10T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/danza-y-tecnologa%c2%ada-medios-de-interaccion\/"},"modified":"2007-05-10T00:00:00","modified_gmt":"2007-05-10T00:00:00","slug":"danza-y-tecnologa%c2%ada-medios-de-interaccion","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/teoria-analisis-y-critica-de-las-bellas-artes\/danza-y-tecnologa%c2%ada-medios-de-interaccion\/","title":{"rendered":"Danza y tecnolog\u00eda. medios de interacci\u00f3n"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Victoria P\u00e9rez Royo <\/strong><\/h2>\n<p>Esta investigaci\u00f3n est\u00e1 dedicada al estudio de la aplicaci\u00f3n de la tecnolog\u00eda interactiva a la creaci\u00f3n esc\u00e9nica de danza, en concreto, al escenario interactivo. Interacci\u00f3n en este caso no hace referencia a una posible participaci\u00f3n del p\u00fablico, sino al establecimiento de una relaci\u00f3n dialogal del bailar\u00edn con su entorno esc\u00e9nico. El int\u00e9rprete con su movimiento y por medio de un sistema sensible es capaz de desatar reacciones por parte del entorno. En un sistema interactivo perfecto estas respuestas del espacio esc\u00e9nico se convierten en motivaciones para la continuaci\u00f3n de la acci\u00f3n del bailar\u00edn, de manera que la pieza se va creando en el mismo momento en el que se presenta en un sistema de autoalimentaci\u00f3n continuo. se analizan piezas presentadas en alemania en el 2006, junto con algunos instrumentos clave en la tecnolog\u00eda interactiva aplicada a la danza, como isadora, eyecon o kalypso. Cada uno de ellos posibilita un tipo diferente de interacci\u00f3n con el bailar\u00edn, permiti\u00e9ndole originar el di\u00e1logo a tiempo real con determinados par\u00e1metros del entorno esc\u00e9nico, tales como sonido, iluminaci\u00f3n o proyecciones. en funci\u00f3n del rol de la imagen digital en escenarios interactivos, se estudia asimismo otra tecnolog\u00eda fundamental en la danza, el v\u00eddeo. Se analizan as\u00ed piezas de videodanza desde la perspectiva de su rechazo de la narraci\u00f3n cinematogr\u00e1fica cl\u00e1sica y buscando las estrategias concretas que en cada caso sirven a este fin. tras estos an\u00e1lisis se establece una est\u00e9tica del escenario interactivo, caracterizada por una preferencia por la improvisaci\u00f3n frente a la coreograf\u00eda, una est\u00e9tica de lo procesual y emergente, la ampliaci\u00f3n de las capacidades y responsabilidades del bailar\u00edn o la recuperaci\u00f3n del cuerpo por medio de las tecnolog\u00edas.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Danza y tecnolog\u00eda. medios de interacci\u00f3n<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Danza y tecnolog\u00eda. medios de interacci\u00f3n <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Victoria P\u00e9rez Royo <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 05\/10\/2007<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Jos\u00e9 Luis Molinuevo Mart\u00ednez De Bujo<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 Antonio Sanchez Martinez <\/li>\n<li>mateo Cabot ramis (vocal)<\/li>\n<li>domingo Hern\u00e1ndez s\u00e1nchez (vocal)<\/li>\n<li>Jos\u00e9 Gomez isla (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Victoria P\u00e9rez Royo Esta investigaci\u00f3n est\u00e1 dedicada al estudio de la aplicaci\u00f3n de la tecnolog\u00eda interactiva a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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