{"id":9645,"date":"2009-01-09T16:09:08","date_gmt":"2009-01-09T19:09:08","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9645&lang=pt-br"},"modified":"2009-01-09T19:33:29","modified_gmt":"2009-01-09T22:33:29","slug":"imagens-diagramas-e-metaforas-em-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/","title":{"rendered":"Imagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance"},"content":{"rendered":"

A analogia \u00e9 um tipo poderoso de racioc\u00ednio. Ela permite fazer descobertas sobre a natureza das coisas, sobre suas din\u00e2micas e funcionamentos, suas estruturas e constitui\u00e7\u00f5es internas. Dizemos que a mente \u00e9, sob certos aspectos, como um formigueiro, que uma pe\u00e7a de Bach \u00e9 um di\u00e1logo, que um sistema formal \u00e9 um jogo, que a linguagem se parece com um v\u00edrus, que o pensamento \u00e9 um grafo, que o c\u00e9rebro \u00e9 um computador, que o espa\u00e7o \u00e9 uma rede, o tempo \u00e9 uma flecha, o organismo \u00e9 um sistema…<\/span><\/p>\n

Vou explorar aqui rapidamente (e indicar algumas vias de desenvolvimento para os mais curiosos sobre o assunto) a import\u00e2ncia dos \u00edcones, que s\u00e3o um tipo especial de signos fortemente dependentes de rela\u00e7\u00f5es de similaridade, e das analogias, baseado em duas oficinas de dan\u00e7a em que atuei em 2008. (A primeira delas aconteceu no projeto COOKIE, em Salvador, com Daniella Aguiar. A segunda tamb\u00e9m teve lugar em Salvador como parte das atividades do workshop INTER.SE\u00c7\u00d5ES, sobre dan\u00e7a e tradu\u00e7\u00e3o intersemi\u00f3tica, que organizei com Daniella Aguiar e Rita Aquino). Propus, nestas oficinas, uma modalidade de exerc\u00edcios baseada em analogias e manipula\u00e7\u00e3o de \u00edcones. O resultado me pareceu interessante porque permitiu aos integrantes reconhecer e distinguir com relativa precis\u00e3o a natureza das associa\u00e7\u00f5es entre complexos de atividades motoras (e entre atividades motoras e outros processos de linguagem), e a operar sobre elas, transformando-as em novas coisas e em novos complexos, controladamente. Iniciei sugerindo que n\u00e3o havia mais do que tr\u00eas modos de relacionar, atrav\u00e9s de analogias, duas ou mais coisas (estava baseado, ao fazer esta sugest\u00e3o, nos estudos da Gram\u00e1tica Especulativa<\/em> do l\u00f3gico e fil\u00f3sofo norte-americano C.S. Peirce). Assim, duas ou mais coisas, que podem ser estruturas ou cole\u00e7\u00f5es de objetos ou propriedades, processos, conceitos ou padr\u00f5es motores (movimentos ou a\u00e7\u00f5es motoras), ou coisas reconhecidas como tais, s\u00e3o an\u00e1logas porque: (i) as \u2018qualidades’ daquilo de que s\u00e3o feitos s\u00e3o similares, (ii) as \u2018rela\u00e7\u00f5es’ entre suas partes constituintes s\u00e3o similares, (iii) os \u2018significados’ produzidos (efeitos interpretativos) s\u00e3o similares.<\/span><\/p>\n

No primeiro caso, relacionamos as \u2018qualidades superficiais’ das coisas. Por exemplo, certa propriedade de reflect\u00e2ncia, certa tens\u00e3o de superf\u00edcie, a topologia de um certo arranjo (antes de serem percebidas as rela\u00e7\u00f5es entre as partes constituintes). S\u00e3o opera\u00e7\u00f5es que realizamos com um tipo de \u00edcone que Peirce chama de \u2018imagem’. (Uma \u2018imagem’ n\u00e3o precisa ser necessariamente visual, podendo ser ac\u00fastica, ou h\u00e1ptica.) O segundo caso est\u00e1 relacionado a opera\u00e7\u00f5es com \u2018diagramas’. O diagrama representa, atrav\u00e9s das rela\u00e7\u00f5es entre suas partes, as rela\u00e7\u00f5es que constituem as partes relacionadas do objeto que ele representa. O objeto do diagrama \u00e9 sempre uma rela\u00e7\u00e3o. As partes relacionadas do diagrama representam as rela\u00e7\u00f5es que constituem o objeto representado. Diferente da imagem que relaciona qualidades superficiais, o diagrama \u00e9 um arranjo de partes relacionadas, e seu objeto s\u00f3 pode ser uma rela\u00e7\u00e3o an\u00e1loga. Nas met\u00e1foras, s\u00e3o an\u00e1logos os efeitos interpretativos produzidos por dois ou mais signos ou representa\u00e7\u00f5es relacionados. Diferente dos diagramas, e das imagens, nas met\u00e1foras as rela\u00e7\u00f5es de analogia s\u00e3o exercidas entre os efeitos interpretativos produzidos por dois ou mais signos.<\/span><\/p>\n

Estamos, nos tr\u00eas casos, \u2018manipulando \u00edcones’ por meio de opera\u00e7\u00f5es que envolvem \u2018infer\u00eancias anal\u00f3gicas’. Qual a import\u00e2ncia do \u00edcone? O \u00edcone \u00e9 o \u00fanico tipo de signo envolvendo uma apresenta\u00e7\u00e3o direta das propriedades (qualitativas, relacionais, interpretativas) que pertencem ao objeto que ele representa. (A informa\u00e7\u00e3o est\u00e9tica tem sua natureza indissociavelmente ligada aos \u00edcones, algo que s\u00f3 poderei explorar em outro artigo.) E as analogias dependem dos \u00edcones. H\u00e1, nos \u00edcones, uma concentra\u00e7\u00e3o nos aspectos de concre\u00e7\u00e3o do processo de representa\u00e7\u00e3o e de linguagem. E ao ser manipulado, o \u00edcone \u2018revela’ um, ou muitos, aspectos de seu objeto. De acordo com a id\u00e9ia introduzida acima, essa \u2018revela\u00e7\u00e3o’ depende da mat\u00e9ria de que ele, e seu objeto, s\u00e3o feitos, ou de suas qualidades superficiais. Tamb\u00e9m depende de sua organiza\u00e7\u00e3o estrutural, ou de seu arranjo interno, e dos efeitos que produz nos int\u00e9rpretes (ver Farias & Queiroz 2006).<\/span><\/p>\n

Aqui me aproximo do n\u00facleo que explorei nas oficinas. Um dan\u00e7arino, performer, ou int\u00e9rprete de dan\u00e7a, pode ser descrito, para certos prop\u00f3sitos, como um sistema que produz e interpreta signos de diferentes tipos, e uma a\u00e7\u00e3o motora pode ser descrita como um \u00edcone. Assim, dois ou mais movimentos ou complexos de movimentos, s\u00e3o \u2018similares’ para um int\u00e9rprete, porque s\u00e3o an\u00e1logos em termos de suas qualidades superficiais <\/em>(reflect\u00e2ncia, densidade etc), em termos das rela\u00e7\u00f5es<\/em> entre suas partes (tens\u00e3o entre as partes, geometria, trajet\u00f3ria, ritmo, din\u00e2mica etc), e em termos dos significados<\/em> produzidos (rela\u00e7\u00f5es com acontecimentos, situa\u00e7\u00f5es, estados emocionais significativos etc).<\/span><\/p>\n

Isso pode nos fornecer uma moldura capaz de descrever e controlar opera\u00e7\u00f5es que envolvem analogias em dan\u00e7a, tanto em contextos e ambientes educacionais, quanto mais experimentais. Para manter o processo sob certo controle, sugeri a aplica\u00e7\u00e3o de outro framework, baseado nos trabalhos de Holyoak & Thagard, para quem mesmo os processos criativos, de percep\u00e7\u00e3o e forma\u00e7\u00e3o de conceitos est\u00e3o definitivamente ligados \u00e0s analogias. Para Holyoak & Thagard (1995:12-15), baseados em autores como Arthur Koestler, Henri Poincar\u00e9 e George Polya, a compreens\u00e3o da criatividade depende de uma explica\u00e7\u00e3o sobre as opera\u00e7\u00f5es associadas \u00e0s analogias. Para estes autores, a analogia envolve diversas fases: (i) a sele\u00e7\u00e3o de uma fonte, (ii) o mapeamento da fonte em rela\u00e7\u00e3o a um alvo, (iii) a avalia\u00e7\u00e3o das infer\u00eancias sugeridas pelo mapeamento e o (iv) aprendizado de algo geral a partir de testes e experimentos. Exercem, sobre as etapas, o que eles chamam de \u2018constri\u00e7\u00f5es flex\u00edveis’ de similaridade, de estrutura e de prop\u00f3sito – similaridade (press\u00e3o para buscar propriedades em comum entre elementos, e elementos que tenham propriedades em comum), estrutura (press\u00e3o para buscar uma estrutura consistente entre elementos, e elementos que possuam estruturas consistentes), prop\u00f3sito (press\u00e3o para focalizar elementos que estejam de acordo com um prop\u00f3sito inicial).<\/span><\/p>\n

Nas oficinas, explorei, passo a passo, as rela\u00e7\u00f5es de analogia, a partir das fases delineadas por Holyoak & Thagard, com algumas adapta\u00e7\u00f5es, tendo como background a teoria do \u00edcone de Peirce. O protocolo, bastante simples, foi constru\u00eddo assim:<\/span><\/p>\n

Etapa I: <\/strong>Escolha uma \u2018fonte’ – m\u00fasica, gravura, prosa ou poesia, complexo de a\u00e7\u00f5es motoras, v\u00eddeo, ou o que pretender \u2018recriar’ em termos motores. Decida quais os componentes, ou n\u00edveis de descri\u00e7\u00e3o (ritmo, propriedades sint\u00e1ticas, crom\u00e1ticas, sem\u00e2nticas, psicol\u00f3gicas, hist\u00f3ricas etc), que considera mais relevantes do material selecionado – aqueles que imprimem \u00e0 fonte escolhida aquilo que, segundo sua interpreta\u00e7\u00e3o, confere a ela maior coer\u00eancia ou import\u00e2ncia. Atente para o fato de que os componentes ou n\u00edveis que considera relevantes mant\u00eam rela\u00e7\u00f5es entre si (ritmo e sintaxe; coloratura e din\u00e2mica etc). Embora possuam certa autonomia, em termos descritivos e funcionais, eles est\u00e3o densamente conectados por diversas formas de causalidade e determina\u00e7\u00e3o. (Pareceu-me sempre importante enfatizar este aspecto).<\/span><\/p>\n

Etapa II: <\/strong>Uma vez selecionados, escolha as propriedades ou estruturas que pretende \u2018recriar’ em \u2018a\u00e7\u00f5es motoras’.<\/span><\/p>\n

Etapa III: Mapeie, atrav\u00e9s das opera\u00e7\u00f5es descritas acima (imagem, diagrama, met\u00e1fora), as propriedades ou estruturas selecionadas, recriando-as em novos padr\u00f5es de a\u00e7\u00f5es motoras.<\/span><\/p>\n

Etapa IV: Execute diversas transforma\u00e7\u00f5es no material recriado em termos motores. As transforma\u00e7\u00f5es devem ser orientadas por uma \u2018l\u00f3gica’ determinada pelo fato de que se manipulam qualidades (imagens), rela\u00e7\u00f5es (diagramas), ou interpreta\u00e7\u00f5es (met\u00e1foras).<\/span><\/p>\n

Etapa V: <\/strong>Generalize o resultado das opera\u00e7\u00f5es de modo a obter, das transforma\u00e7\u00f5es, algo que possa ser descrito como uma \u2018classe de transforma\u00e7\u00f5es diagram\u00e1ticas’, \u2018imag\u00e9ticas’ ou \u2018metaf\u00f3ricas’.<\/span><\/p>\n

(Em resultados eram discutidos entre os integrantes.)<\/span><\/p>\n

Algumas consequ\u00eancias<\/strong><\/span><\/p>\n

A id\u00e9ia \u00e9 que este aparato pode criar um frame <\/em>conceitual interessante. Embora confesse n\u00e3o ter me detido exaustivamente sobre o tema, n\u00e3o tenho observado, no ambiente art\u00edstico-acad\u00eamico de dan\u00e7a, qualquer tentativa de estabelecer com rigor as opera\u00e7\u00f5es que atuam em atividades heur\u00edstica e teoricamente muito f\u00e9rteis, mas dif\u00edceis de descrever e controlar, e que eu relacionaria com \u2018analogias motoras’. Al\u00e9m disso, n\u00e3o vejo indica\u00e7\u00f5es sobre os resultados da aplica\u00e7\u00e3o de qualquer metodologia relativa ao desenvolvimento deste tema, no ambiente de estudos de dan\u00e7a, mais interessado em compila\u00e7\u00f5es descritivas, cr\u00edticas prescritivas e rescens\u00f3rias. (J\u00e1 tenho algo iniciado sobre \u2018artefatos cognitivos e abdu\u00e7\u00e3o manipulativa’ em dan\u00e7a, com Daniella Aguiar, que apresentar\u00e1 os primeiros resultados no \u20182009 International Conference on the Arts in Society’. Com Rita Aquino, comecei a esbo\u00e7ar algumas id\u00e9ias para desenvolver este t\u00f3pico em um campo de aplica\u00e7\u00e3o mais educacional).<\/span><\/p>\n

Os argumentos que apresentei introdutoriamente aqui t\u00eam outras consequ\u00eancias. Um int\u00e9rprete-performer-criador infere manipulando rela\u00e7\u00f5es anal\u00f3gicas entre qualidades, rela\u00e7\u00f5es e efeitos interpretativos. Quais, quando e como diferentes \u2018classes de infer\u00eancia’ est\u00e3o em jogo quando ele atua, aprendendo, descobrindo ou inventando, formam um conjunto de quest\u00f5es em aberto. (Outros processos e mecanismos – contextuais, neurobiol\u00f3gicos etc – implicados, tamb\u00e9m formam conjuntos espec\u00edficos de quest\u00f5es). Se suas atividades de \u2018inven\u00e7\u00e3o & descoberta’ de novas a\u00e7\u00f5es, e das diversas camadas que relaciona com a\u00e7\u00f5es motoras (objetos sonoros, luz, dimens\u00e3o e natureza do espa\u00e7o, etc), devem resultar das manipula\u00e7\u00f5es de diferentes tipos de \u00edcones (imagens, diagramas e met\u00e1foras) – como eles atuam nas diversas fases indicadas das opera\u00e7\u00f5es (sele\u00e7\u00e3o e mapeamento da fonte, avalia\u00e7\u00e3o, generaliza\u00e7\u00e3o)?<\/span><\/p>\n

Em geral, as manipula\u00e7\u00f5es devem ser controladas, embora em um sentido distinto daquele que atribuimos \u00e0 id\u00e9ia de \u2018controle deliberativo’ sobre o racioc\u00ednio. De qualquer forma, nas oficinas em que atuei, toda a transforma\u00e7\u00e3o foi bastante controlada, em termos estrat\u00e9gicos. Uma vez entendido o princ\u00edpio que permite fazer uma analogia, deve ficar mais f\u00e1cil \u2018isolar’ as formas de rela\u00e7\u00e3o entre a\u00e7\u00f5es motoras, para atuar sobre elas. Mas h\u00e1 tamb\u00e9m um aspecto descritivo associado a este frame. Porque ele pode funcionar como um modelo de processos muito vitais \u00e0 criatividade, em dan\u00e7a, relacionados \u00e0s opera\u00e7\u00f5es que envolvem diversas formas de analogias. Neste caso, quando examinamos, por exemplo, uma performance cuja principal refer\u00eancia \u00e9 uma pintura, obra liter\u00e1ria ou objeto sonoro, torna-se mais claro como a sele\u00e7\u00e3o e o mapeamento de aspectos relevantes da ‘fonte’ distribui-se entre processos predominantemente diagram\u00e1ticos, metaf\u00f3ricos, ou imag\u00e9ticos, ou em oscila\u00e7\u00e3o entre um, dois ou tr\u00eas destes processos.<\/span><\/p>\n

Refer\u00eancias:<\/em><\/strong><\/span><\/p>\n

<\/strong><\/span><\/p>\n

Sobre analogia:<\/strong><\/span><\/p>\n

HOLYOAK, K. J. & THAGARD, P. 1995. Mental Leaps: Analogy in Creative Thought. MIT Press.<\/span><\/p>\n

<\/strong><\/span><\/p>\n

Sobre abdu\u00e7\u00e3o:<\/strong><\/span><\/p>\n

QUEIROZ, J. & MERRELL, F. (guest eds.). 2005. Abduction – between subjectivity and objectivity. (Special issue on abductive inference) Semiotica 153 (1\/4). http:\/\/www.semiotics.pro.br\/Table-contents-Abduction.pdf<\/span><\/p>\n

Sobre C.S.Peirce:<\/strong><\/span><\/p>\n

QUEIROZ, J. & GUDWIN, R. (orgs.) 2002. The Digital Encyclopedia of C.S.Peirce. http:\/\/www.digitalpeirce.fee.unicamp.br\/<\/span><\/p>\n

Sobre diagramas:<\/strong><\/span><\/p>\n

STJERNFELT, F. 2007. Diagrammatology:<\/em> An Investigation on the Borderlines of Phenomenology, Ontology and Semiotics. Springer.<\/span><\/p>\n

http:\/\/www.springer.com\/philosophy\/metaphysics+&+epistemology\/book\/978-1-4020-5651-2<\/span><\/p>\n

FARIAS, P. & QUEIROZ, J. 2006. Images, diagrams, and metaphors: hypoicons in the context of Peirce’s sixty-six fold classification of signs. Semiotica 162 (1\/4): 287-308.<\/span><\/p>\n

http:\/\/www.semiotics.pro.br\/Farias-Queiroz-Hypoicons-Semiotica20.pdf<\/span><\/p>\n

Jo\u00e3o Queiroz \u00e9 diretor do Group for Research in Artificial Cognition<\/em> (UFBA\/ UEFS)<\/a>.<\/strong><\/span><\/p>\n

Analogy is powerful kind of reasoning. It allows discoveries about the nature of things, about its dynamics and functioning, its structures and internal constitution. We say that the mind is, under some aspects, like an anthill, that a Bach piece is a dialogue, that a formal system is a game, that language seems like a virus, that thought is like a graph, that the brain is a computer, that space is a web, that time is an arrow, that the organism is a system \u2026<\/span><\/p>\n

I\u00b4ll briefly explore here (and indicate some developing paths for those who are more curious about the subject) the importance of icons, which are a special kind of sign strongly dependent on similarity relations and analogies, based on two dance workshops in which I acted in 2008. (The first one happened in the COOKIE project, in Salvador, with Daniella Aguiar. The second one also took place in Salvador as part of the activities of the INTER.SE\u00c7OES workshop, about dance and intersemiotic translation, which I organized with Daniella Aguiar and Rita Aquino). In these workshops I proposed a type of exercise based on analogies and icon manipulation. The result seemed interesting to me because it allowed the participants to recognize and distinguish with some precision the nature of associations between motor activity complexes, in a controlled way. I started off suggesting that there are no more than three ways of relating, through analogy, two or more things (in suggesting this I was based on the study of the Speculative Grammar, by North-American logician and philosopher C.S. Peirce). Thus, two or more things, which may be structures or collections of objects or properties, processes, concepts or motor patterns (movements or motor actions), or things recognized as such, are analogous because: (i) the \u2018qualities\u2019 of which they are made are similar, (ii) the \u2018relations\u2019 between their constituting parts are similar, (iii) the \u2018meanings\u2019 produced (interpretative effects) are similar.<\/span><\/p>\n

In the first case, we relate the \u2018superficial qualities\u2019 of things. For example, some reflective properties, certain surface tension, a topology of some arrangement (before the relations between the constituting parts are perceived). Those are operations we carry out with a type of icon Peirce calls \u2018image\u2019. (An \u2018image\u2019 does not need to be visual necessarily, it can be acoustic or haptic.) The second case is related to operations with \u2018diagrams\u2019. Through relations between its parts, the \u2018diagram\u2019 represents the relations that constitute the related parts of the object it represents. The object of the diagram is always a relation. The related parts of the diagram represent the relations that constitute the represented object. Different from the image that relates superficial qualities, the diagram is an arrangement of related parts and its object can only be an analogous relation. Different from the diagrams and images, in metaphors, the analogy relations are carried out between in the interpretative effects produced by two signs or more.<\/span><\/p>\n

In the three cases, we are \u2018manipulating icons\u2019 through operations that involve \u2018analog inferences\u2019. What is the importance of the icon? The icon is the only type of sign that involves a direct presentation of the properties (qualitative, relational, interpretative) that belong to the object it represents. (The aesthetic information has its nature inextricably related to icons, something I will only be able to address in another article.) And the analogies depend on icons. In icons there is a concentration in the aspects of concretion of the representation and language process. When\u00a0\u00a0 manipulated, the icons \u2018reveals\u2019 one, or many, aspects of its object. According to the idea introduced above, this \u2018revelation\u2019 depends on the matter it, and its objects, are made of, or on its superficial qualities. It also depends on its structural organization, or it internal arrangement, and the effects it produces in the interpreter (see Farias & Queiroz 2006).<\/span><\/p>\n

Now I am getting closer to the core I explored in the workshops. A dancer or perfomer may be described, for certain ends, as a system that produces and interprets different kinds of signs and a motor action may be described as an icon. Thus, two or more movements or movement complex are \u2018similar\u2019 for an interpreter, because they are analogous in terms of their superficial qualities (reflectiveness, density etc), in terms of the relations between their parts (tension between the parts, geometry, trajectory, rhythm, dynamics etc), and in terms of the meanings produced (relation with events, situations, significant emotional states etc).<\/span><\/p>\n

This may provide us with a frame able to describe and control operations that involve analogies in dance, both in educational contexts and environments and more experimental ones. To keep the process under control, I suggested the application of another framework, based on the works of Holyoak & Thagard, for whom even the creative, perceptive processes and development of concepts are definitely linked to analogies. For Holyoak & Thagard (1995:12-15), based on authors such as Arthur Koestler, Henri Poincar\u00e9 and George Polya, the comprehension of creativity depends on an explanation about the operations related to the analogies. For these authors, analogy involves many phases: (i) the selection of a source, (ii) the mapping of the source in relation to a target, (iii) the evaluation of the inferences suggested by the mapping and the (iv) learning of something general from tests and experiments. They exert upon the stages what they call \u2018flexible constrictions\u2019 of similarity (pressure to search for common properties between the elements and elements that have properties in common), structure (pressure to search for a consistent structure between the elements and elements that have consistent structures), purpose (pressure to focus on elements that are in conformity with an initial purpose).<\/span><\/p>\n

In the workshops, I explored the analogy relations step by step, upon the phases outlined by Holyoak & Thagard, with some adaptations, having Peirce\u2019s icon theory as background. The very simple protocol was built in this way:<\/span><\/p>\n

Step I: Choose a \u2018source\u2019 \u2013 music, illustration, prose or poetry, motor action complex, video, or anything that you intend to \u2018recreate\u2019 in motor terms. Decide which are the components or levels of descriptions (rhythm, syntactic, chromatic, semantic, psychological, historical properties etc), that you consider most relevant in the selected material \u2013 those that give the chosen source something which, according to your interpretation, grants it more coherence or importance. Keep in mind the fact that the components or levels you consider relevant must keep relations amongst them (rhythm and syntax; colour and dynamics etc). Although they posses some autonomy, in descriptive and functional terms, they are densely connected by many forms of causality and determination. (It seemed important to me to emphasize this aspect).
\nStep II: Once selected, choose the properties or structures that you intend to \u2018recreate\u2019 in \u2018motor actions\u2019.
\nStep III: Map, through the above mentioned operation (image, diagram, metaphor), the selected properties and structures, recreating them in new patterns motor actions.
\nStep IV: Execute many transformations in the material recreated in motor terms. The transformations should be oriented by a \u2018logic\u2019 determined by the fact that qualities (images), relation (diagrams) or interpretations (metaphors) are manipulated.
\nStep V: Generalize the result of the operations as to obtain from the transformations, something that may be described as a \u2018class of diagrammatic transformation\u2019, \u2018imagetic\u2019 or \u2018metaphorical\u2019.<\/span><\/p>\n

(The results were discussed among the participants.)<\/span><\/p>\n

Some consequences<\/strong><\/span><\/p>\n

The idea is that this apparatus can create an interesting conceptual frame. Although I confess I didn\u00b4t detain myself exhaustibly in the theme, I haven\u00b4t observed in the dance artistic-academic environment any attempt to rigorously establish the operations that act in activities that are heuristically and theoretically very fertile, but difficult to describe and control, and that I would relate with \u2018motor analogies\u2019. Besides, I don\u00b4t see indications about the results of the application of any methodology related to the development of this subject in the environment of dance studies, more interested in descriptive compilations, prescriptive and census related criticism. (I already have something initiated about \u2018cognitive artifacts and manipulative abduction\u2019 in dance with Daniella Aguiar, who will present the first results at the \u20182009 International Conference on the Arts in Society\u2019. With Rita Aquino, I started to outline some ideas to develop this subject in a more educational application field)<\/span><\/p>\n

The arguments I introduced here in an introductory way have other consequences. A interpreter-performer-creator infers manipulating analog relations between qualities, relations and interpretative effects. Which ones, when and how different \u2018classes of inference\u2019 are at play when he acts, learning, discovering or inventing, form a group of open questions. (Other implicated processes and mechanisms \u2013 contextual, neurobiological etc \u2013 also form specific groups of questions). If their activities of \u2018invention and discovery\u2019 of new actions and the many layers that are related with motor actions (sound objects, light, dimension and nature of space, etc), should result from the manipulation of different types of icons (images, diagrams and metaphors) \u2013 how do they act in the different phases indicated in the operations (selection and mapping of the source, evaluations, generalizations)?<\/span><\/p>\n

In general, the manipulations must be controlled, although in a different sense from that we attribute to the idea of \u2018deliberate control\u2019 over reasoning. In any way, in the workshops I acted, all the transformation was very controlled in strategic terms. Once the principle that allows an analogy to be made is understood, it should be easier to \u2018isolate\u2019 the forms of relations between motor actions, to act upon them. But there is also a descriptive aspect associated to this frame. Because it may work as a pattern of processes that are really vital to creativity in dance, related to the operations that involve many forms of analogies. In this case, when we examine, for example, a performance in which the main reference is a painting, a literary piece or a sound object, it becomes more clear how the selection and mapping of relevant aspects of the \u2018source\u2019 are distributed among mainly diagrammatic, metaphoric or image processes, or an oscillation between one, two or three of those processes.<\/span><\/p>\n

References<\/strong><\/span><\/p>\n

About analogy:
\n<\/strong>HOLYOAK, K. J. & THAGARD, P. 1995. Mental Leaps: Analogy in Creative Thought. MIT Press.<\/span><\/p>\n

About abduction:
\n<\/strong>QUEIROZ, J. & MERRELL, F. (guest eds.). 2005. Abduction – between subjectivity and objectivity. (Special issue on abductive inference) Semiotica 153 (1\/4). http:\/\/www.semiotics.pro.br\/Table-contents-Abduction.pdf<\/span><\/p>\n

About C.S.Peirce:
\n<\/strong>QUEIROZ, J. & GUDWIN, R. (orgs.) 2002. The Digital Encyclopedia of C.S.Peirce. http:\/\/www.digitalpeirce.fee.unicamp.br\/<\/span><\/p>\n

About diagrams:
\n<\/strong>STJERNFELT, F. 2007. Diagrammatology: An Investigation on the Borderlines of Phenomenology, Ontology and Semiotics. Springer.
\nhttp:\/\/www.springer.com\/philosophy\/metaphysics+&+epistemology\/book\/978-1-4020-5651-2
\nFARIAS, P. & QUEIROZ, J. 2006. Images, diagrams, and metaphors: hypoicons in the context of Peirce\u2019s sixty-six fold classification of signs. Semiotica 162 (1\/4): 287-308.
\nhttp:\/\/www.semiotics.pro.br\/Farias-Queiroz-Hypoicons-Semiotica20.pdf<\/span><\/p>\n

Jo\u00e3o Queiroz is director of Group for Research in Artificial Cognition<\/em> (UFBA\/ UEFS)<\/a>.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A partir de duas oficinas em que atuou em 2008, o pesquisador Jo\u00e3o Queiroz explora a import\u00e2ncia dos \u00edcones e analogias na dan\u00e7a. Leia e deixe seu coment\u00e1rio.<\/span>
\nBased on two workshops in which he acted in 2008, researcher Jo\u00e3o Queiroz explores the importance of icons and analogies in dance. Read and comment.<\/span><\/p>\n","protected":false},"author":515,"featured_media":9646,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[3098,2950,3100,3099,362],"yoast_head":"\nImagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Imagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance -\" \/>\n<meta property=\"og:description\" content=\"A partir de duas oficinas em que atuou em 2008, o pesquisador Jo\u00e3o Queiroz explora a import\u00e2ncia dos \u00edcones e analogias na dan\u00e7a. Leia e deixe seu coment\u00e1rio. Based on two workshops in which he acted in 2008, researcher Jo\u00e3o Queiroz explores the importance of icons and analogies in dance. Read and comment.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2009-01-09T19:09:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2009-01-09T22:33:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/idanca.net\/wp-content\/uploads\/2009\/01\/corpo-mapeado_joaoqueiroz.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"484\" \/>\n\t<meta property=\"og:image:height\" content=\"309\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jo\u00e3o Queiroz\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jo\u00e3o Queiroz\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"19 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/\",\"url\":\"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/\",\"name\":\"Imagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2009-01-09T19:09:08+00:00\",\"dateModified\":\"2009-01-09T22:33:29+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/ed8649e668d4ece0a25b76ec39f2978d\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Imagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/ed8649e668d4ece0a25b76ec39f2978d\",\"name\":\"Jo\u00e3o Queiroz\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c946184781c67866bf1cc50f1d553fbc?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c946184781c67866bf1cc50f1d553fbc?s=96&d=mm&r=g\",\"caption\":\"Jo\u00e3o Queiroz\"},\"sameAs\":[\"http:\/\/\"],\"url\":\"https:\/\/idanca.net\/author\/joaoqueiroz\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Imagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/","og_locale":"pt_BR","og_type":"article","og_title":"Imagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance -","og_description":"A partir de duas oficinas em que atuou em 2008, o pesquisador Jo\u00e3o Queiroz explora a import\u00e2ncia dos \u00edcones e analogias na dan\u00e7a. Leia e deixe seu coment\u00e1rio. Based on two workshops in which he acted in 2008, researcher Jo\u00e3o Queiroz explores the importance of icons and analogies in dance. Read and comment.","og_url":"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2009-01-09T19:09:08+00:00","article_modified_time":"2009-01-09T22:33:29+00:00","og_image":[{"width":484,"height":309,"url":"https:\/\/idanca.net\/wp-content\/uploads\/2009\/01\/corpo-mapeado_joaoqueiroz.jpg","type":"image\/jpeg"}],"author":"Jo\u00e3o Queiroz","twitter_misc":{"Escrito por":"Jo\u00e3o Queiroz","Est. tempo de leitura":"19 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/","url":"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/","name":"Imagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2009-01-09T19:09:08+00:00","dateModified":"2009-01-09T22:33:29+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/ed8649e668d4ece0a25b76ec39f2978d"},"breadcrumb":{"@id":"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/imagens-diagramas-e-metaforas-em-danca\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Imagens, diagramas e met\u00e1foras em dan\u00e7a | Images, diagrams and metaphors in dance"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/ed8649e668d4ece0a25b76ec39f2978d","name":"Jo\u00e3o Queiroz","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c946184781c67866bf1cc50f1d553fbc?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c946184781c67866bf1cc50f1d553fbc?s=96&d=mm&r=g","caption":"Jo\u00e3o Queiroz"},"sameAs":["http:\/\/"],"url":"https:\/\/idanca.net\/author\/joaoqueiroz\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/9645"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/515"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=9645"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/9645\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media\/9646"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=9645"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=9645"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=9645"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}