 |
English
|
正體中文
|
简体中文
|
Post-Print筆數 : 27 |
Items with full text/Total items : 113648/144635 (79%)
Visitors : 51575529
Online Users : 856
|
|
|
Loading...
|
Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/149449
|
| Title: | Notation as Diagram: Transnotators |
| Authors: | 謝杰廷
Hsieh, Chieh-Ting |
| Contributors: | 傳播學院 |
| Date: | 2022-12 |
| Issue Date: | 2024-01-29 09:45:25 (UTC+8) |
| Abstract: | Diagram is ‘marking with line,’ which implies ‘image-ness’ that is emphasized by most of the research on diagram. Notation is also ‘diagram’ in the sense that it means ‘to mark’ (notare). Like diagram, the significance of notation is based more on the ‘image-ness’ of the signs than on the writing of words. Nonetheless, diagram is more than ‘marking with line’. I argue that the game which the artists developed in the research-based artistic project Transnotators (2018–19), which I conducted at Taiwan Contemporary Culture Lab (C-LAB) and Taipei Performing Arts Center, could bring forth a reinterpretation of notation as diagram. Diagram, as ‘writing(-gram)-through(dia-)’, could be reinterpreted as ‘writing through which one passes to another space’.
In Transnotators, the artists researched not only the different music and dance notations but also the notation of Chinese board game qi 碁, which is one of the most ancient Chinese board games. Inspired by the notation of qi, the artists developed a game with the signs devised from their own practice of music or dance. The signs of notation on paper placed in line on the ground become the ‘ways’ for the participants in the game. Taking steps one at a time along the ‘ways’, the participants are asked to interpret the signs as music or dance when they pass through the signs. The signs of notation therefore become ‘diagram’ in the most literal sense that they are ‘writings through which one passes’. Moreover, they are writings through which one passes to another space that is set up with the image-ness of the signs. Diagram is therefore more than writing. It is writing-through. It is more than marking with line. It is the line of writing-through for passing-through. |
| Relation: | Performance Research, Vol.27, No.8, pp.153-157 |
| Data Type: | article |
| DOI 連結: | https://doi.org/10.1080/13528165.2022.2224220 |
| DOI: | 10.1080/13528165.2022.2224220 |
| Appears in Collections: | [傳播學院] 期刊論文
|
Files in This Item:
| File |
Description |
Size | Format | |
|---|
| index.html | | 0Kb | HTML | 108 | View/Open |
|
All items in 政大典藏 are protected by copyright, with all rights reserved.
|
著作權政策宣告 Copyright Announcement1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.
2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(
nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(
nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
