J F Miranda Medina
Biographic Data
| ID | 55400 |
|---|---|
| NAME | J F Miranda Medina |
| GIVEN NAMES | J F Miranda |
| FAMILY NAME | Medina |
| SIGNATURE | MEDINA J F M |
| AFFILIATIONS | Universidad Católica San Pablo |
| ORCID | 0000-0002-5239-2718 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Dance Syntax in Practice: The San Felipe dance group performs the Cumbia Cienaguera
This study builds upon the theoretical proposal of dance syntax introduced by Miranda and his colleagues (2023), which defines syntax as the set of principles governing the spatio-temporal sequencing and the variability of dance movements. Central to this approach is the application of Finite-State Automata (FSA), a computational model adapted from computer science, used to formalise the structural and combinatorial possibilities of movement sequ…
Dance Syntax and Possibility: Moving Beyond Structural Analysis
In this work we contend that studying dance syntax systematically is essential to gain a deeper understanding of dance practices. The reason is that syntax has to do with an essential aspect of dance, music and action in general, namely possibility. To the best of our knowledge, the efforts towards a systematic method to study dance syntax are scarce. Therefore, this work proposes the method of Finite-State Automata, borrowed from computer scienc…
From Continuity to Rhythm II: Adjustment and Entrainment
This work is the second part of the article “From Continuity to Rhythm” (Acta Semiotica, II, 3, 2022), where I set out to define rhythm as a semiotic concept. The cornerstones for such a definition are Victoria Santa Cruz’s concept of Rhythm as an active and continuous principle of integration, Landowski’s understanding of continuity, Leibniz’s notion of Harmony, the physical concept of entrainment, and the formal definition of feedback from engi…
From Continuity to Rhythm
This work departs from the opposition between continuity and discontinuity as formulated by semiotician Eric Landowski. I argue that the opposition is a complex that can be fruitfully analysed in terms of self-identity vs difference, unity vs diversity and determinism vs pure randomness. The study of these oppositions deploying Greimas’s square provides an insight into the notions of difference, boundary and cohesion. These will be key to the for…
Michelangelo, the Duck and the Rabbit: Towards a Robust Account of Modes of Existence
The concept of modes of existence of semiotic entities underlies (post)Greimasian semiotics, yet it seems to have received little attention. Modes of existence can be used in different senses. For Greimas, from the perspective of narrative semiotics, when Michelangelo first receives a block of marble and decides to sculpt the David, his intention is in a virtual mode; as Michelangelo progresses he ends up bringing the David into existence, and hi…
Competence, Counterpoint and Harmony: A triad of semiotic concepts for the scholarly study of dance
This work presents to dance and music scholarship the concept of competence, developed and deployed by Greimas, together with the semiotic concepts of counterpoint and harmony. I emphasize competence as a temporal process that requires sanction by an external entity and which corresponds to the level of surface narrative syntax within Greimas’s method of ‘generative trajectory’. To exemplify the application of the generative trajectory to dance, …
Dance Syntax and Possibility: Moving Beyond Structural Analysis
In this work we contend that studying dance syntax systematically is essential to gain a deeper understanding of dance practices. The reason is that syntax has to do with an essential aspect of dance, music and action in general, namely possibility. To the best of our knowledge, the efforts towards a systematic method to study dance syntax are scarce. Therefore, this work proposes the method of Finite-State Automata, borrowed from computer scienc…
Competence, Counterpoint and Harmony: A triad of semiotic concepts for the scholarly study of dance
This work presents to dance and music scholarship the concept of competence, developed and deployed by Greimas, together with the semiotic concepts of counterpoint and harmony. I emphasize competence as a temporal process that requires sanction by an external entity and which corresponds to the level of surface narrative syntax within Greimas’s method of ‘generative trajectory’. To exemplify the application of the generative trajectory to dance, …
Michelangelo, the Duck and the Rabbit: Towards a Robust Account of Modes of Existence
The concept of modes of existence of semiotic entities underlies (post)Greimasian semiotics, yet it seems to have received little attention. Modes of existence can be used in different senses. For Greimas, from the perspective of narrative semiotics, when Michelangelo first receives a block of marble and decides to sculpt the David, his intention is in a virtual mode; as Michelangelo progresses he ends up bringing the David into existence, and hi…
From Continuity to Rhythm II: Adjustment and Entrainment
This work is the second part of the article “From Continuity to Rhythm” (Acta Semiotica, II, 3, 2022), where I set out to define rhythm as a semiotic concept. The cornerstones for such a definition are Victoria Santa Cruz’s concept of Rhythm as an active and continuous principle of integration, Landowski’s understanding of continuity, Leibniz’s notion of Harmony, the physical concept of entrainment, and the formal definition of feedback from engi…
From Continuity to Rhythm
This work departs from the opposition between continuity and discontinuity as formulated by semiotician Eric Landowski. I argue that the opposition is a complex that can be fruitfully analysed in terms of self-identity vs difference, unity vs diversity and determinism vs pure randomness. The study of these oppositions deploying Greimas’s square provides an insight into the notions of difference, boundary and cohesion. These will be key to the for…
Dance Syntax and Possibility: Moving Beyond Structural Analysis
In this work we contend that studying dance syntax systematically is essential to gain a deeper understanding of dance practices. The reason is that syntax has to do with an essential aspect of dance, music and action in general, namely possibility. To the best of our knowledge, the efforts towards a systematic method to study dance syntax are scarce. Therefore, this work proposes the method of Finite-State Automata, borrowed from computer scienc…
Dance Syntax in Practice: The San Felipe dance group performs the Cumbia Cienaguera
This study builds upon the theoretical proposal of dance syntax introduced by Miranda and his colleagues (2023), which defines syntax as the set of principles governing the spatio-temporal sequencing and the variability of dance movements. Central to this approach is the application of Finite-State Automata (FSA), a computational model adapted from computer science, used to formalise the structural and combinatorial possibilities of movement sequ…
Philosophy (5 works) · Sociology (5 works) · Aesthetics (4 works) · Art (4 works) · Epistemology (4 works) · Linguistics and Discourse Analysis (4 works) · Semiotics (4 works) · Dance (3 works) · Linguistics (3 works) · Semiotics and Representation Studies (3 works)