Elvira Crois
Biographic Data
| ID | 6298016 |
|---|---|
| NAME | Elvira Crois |
| GIVEN NAMES | Elvira |
| FAMILY NAME | Crois |
| SIGNATURE | CROIS E |
| AFFILIATIONS | Brussels Research Centre on Innovation in Learning and Diversity (BILD), Educational Sciences, Vrije Universiteit Brussel (VUB), Brussels, Belgium |
| ORCID | 0000-0001-5468-862X |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Establishing an accompanying approach in social sciences and humanities
From “The Cotton Wool” to Criticality
This article discusses the relationship between the critical potential of the arts and dominant notions of criticality. Traditionally, "critical thinking" is often equated with rationality and deliberation. Feminist thought has criticized both the traditional notion of the public sphere for its exclusion of groups based on their modes of discourse, and critical thinking for its overreliance on a limited model of criticality that excludes affectiv…
A Fluid Aesthetics of Audience Participation
The past decade witnessed many developments in audience participation: an evolution from immersive performing arts — which emphasise individual sensory experiences — to participatory performances — which highlight group dynamic experiences. Such performances generate a distinct aesthetics that can no longer be captured using terminology developed for immersive performing arts. To address the lack of theoretical knowledge to understand this aesthe…
Responsible combodying
Using affect theory, I explore how a performer’s guiding skills for interactive performing arts improve when the performer takes into account both their own discomfort and that of the audience. I propose an analysis of the work of Myriam Lefkowitz (FR) and Sarah John (AU/DK) using the concept of ‘responsible combodying’. This non-dyad approach, which incorporates the qualities of listening and articulating propositions, supports the view that dis…
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Responsible combodying
Using affect theory, I explore how a performer’s guiding skills for interactive performing arts improve when the performer takes into account both their own discomfort and that of the audience. I propose an analysis of the work of Myriam Lefkowitz (FR) and Sarah John (AU/DK) using the concept of ‘responsible combodying’. This non-dyad approach, which incorporates the qualities of listening and articulating propositions, supports the view that dis…
A Fluid Aesthetics of Audience Participation
The past decade witnessed many developments in audience participation: an evolution from immersive performing arts — which emphasise individual sensory experiences — to participatory performances — which highlight group dynamic experiences. Such performances generate a distinct aesthetics that can no longer be captured using terminology developed for immersive performing arts. To address the lack of theoretical knowledge to understand this aesthe…
From “The Cotton Wool” to Criticality
This article discusses the relationship between the critical potential of the arts and dominant notions of criticality. Traditionally, "critical thinking" is often equated with rationality and deliberation. Feminist thought has criticized both the traditional notion of the public sphere for its exclusion of groups based on their modes of discourse, and critical thinking for its overreliance on a limited model of criticality that excludes affectiv…
Establishing an accompanying approach in social sciences and humanities
Art (3 works) · Sociology (3 works) · Performing arts (2 works) · Philosophy (2 works) · Philosophy (2 works) · The arts (2 works) · Active listening (1 work) · Aesthetics (1 work) · Anthropology (1 work) · Archaeology (1 work)