{"id":2096,"date":"2013-12-03T11:45:37","date_gmt":"2013-12-03T10:45:37","guid":{"rendered":"http:\/\/www.ricardoviviani.com\/?p=2096"},"modified":"2026-08-31T18:02:45","modified_gmt":"2026-08-31T16:02:45","slug":"inventing-futures","status":"publish","type":"post","link":"https:\/\/www.ricardoviviani.com\/?p=2096","title":{"rendered":"Inventing Futures ArtEZ"},"content":{"rendered":"
\n
\"ArtEZ<\/a>
ArtEZ Report \u2014 Inventing Futures<\/em>, 2013<\/figcaption><\/figure>\n<\/div>\n\n\n

Title:<\/strong> Crie Futuros \/ Create Futures Movement
Type:<\/strong> Presentation \u00b7 Artistic Research \/ Education
Date:<\/strong> 2\u20133 December 2013
Context:<\/strong> Inventing Futures \u2014 Artistic Research With(in) Educational Institutions<\/em>
Location:<\/strong> ArtEZ Arnhem, The Netherlands
Role:<\/strong> Presenter \u00b7 Researcher<\/p>\n\n\n\n

\n\n\n\n

Crie Futuros \/ Create Futures Movement<\/strong><\/h3>\n\n\n\n

The presentation introduced the ideas of Brazilian choreographer, futurologist, creative-economy consultant and activist Lala Deheinzelin<\/strong>, drawing particularly on her book Desirable New World<\/em>. The presentation considered how intangible resources such as culture, creativity and wellbeing can contribute to a sustainable and attainable future.<\/p>\n\n\n\n

From the perspective of a choreographer, the presentation asked how knowledge developed through dance and performance might contribute to broader questions of creativity, participation and social development. A central question was: What do dancers know that non-dancers can’t grasp?<\/strong><\/p>\n\n\n\n

The presentation approached dance practice as a source of knowledge that is often implicit and difficult to articulate outside the circle of dancers. It connected physical and pedagogical practice with questions of communication, collaboration, decision-making and ways of understanding intangible resources.<\/p>\n\n\n\n

Deheinzelin’s framework also proposed a methodology for imagining futures through inventing futures, pooling resources, collaborative models, identifying resources and measures, and implementation<\/strong>. In this context, choreographic knowledge was considered as one possible contribution to broader strategies for creating desirable futures.<\/p>\n\n\n\n

The presentation was part of Crie Futuros Movement<\/em> within the conference discussion of artistic research in educational institutions.<\/p>\n\n\n\n

Archival Material:<\/strong>
\nArtEZ report; presentation slides \/ Prezi; presentation script; bibliography and source materials.<\/p>\n\n\n\n

\n\n\n\n\n\n\n\n

Post Scriptum \u2014 30 August 2026<\/h3>\n\n\n\n

The 2013 presentation provides an early documented expression of Viviani’s interest in connecting dance knowledge with wider social questions and with the imagination of desirable futures<\/strong>. The emphasis was already on moving knowledge developed through artistic practice into broader cultural, educational and social contexts.<\/p>\n\n\n\n

The surviving slides also show an early concern with the implicit knowledge of dancers and with ways of relating physical practice, communication and collaborative processes to questions beyond the performing arts.<\/p>\n\n\n\n

Contribution \/ Ertrag:<\/strong>
\nThe presentation brought choreographic experience into dialogue with ideas from the creative economy and futurology, proposing that knowledge developed through dance may have relevance beyond artistic production itself.<\/p>\n\n\n\n

Assessment \/ Relevanz:<\/strong>
\nThis record is relevant as an early point in the development of Viviani’s future-oriented thinking. The term desirable future<\/em>, encountered here through Deheinzelin’s work, provides a documented link between the 2013 presentation and his present interest in connecting past knowledge, contemporary artistic practice and possible futures.<\/p>\n\n\n\n

Keywords:<\/strong>
\nCrie Futuros; Create Futures Movement; Artistic Research; Dance; Choreography; Dance Knowledge; Intangible Resources; Creative Economy; Sustainability; Education; Collaboration; Desirable Futures<\/p>\n\n\n\n

\n\n\n\n

External Links<\/h3>\n\n\n\n

Inventing Futures \u2014 Artistic Research With(in) Educational Institutions<\/em> \u2014 ArtEZ Report<\/a><\/h4>\n\n\n\n

ArtEZ Arnhem<\/a><\/h4>\n\n\n\n

Crie Futuros \u2014 Lala Deheinzelin<\/a><\/h4>\n\n\n\n

Internal Links<\/h3>\n\n\n\n

Common Dance, Uncommon Stories<\/em> \u2014 Public Archive Entry<\/a><\/h4>\n\n\n\n

Finding Your Own Voice<\/em> \u2014 WS 2020\/21<\/a><\/h4>\n\n\n\n

Finding Your Own Voice<\/em> \u2014 Workshop<\/a><\/h4>\n\n\n\n

Non-verbals in Oral History<\/a><\/h4>\n\n\n\n
\n\n\n

\nArchival Note:<\/strong> This page forms part of an ongoing personal archive documenting Ricardo Viviani’s professional work and activities over more than four decades. Names and other personal information appear where relevant to the documented work or collaboration. If you believe that information concerning you has been published incorrectly or should be reconsidered, please contact me<\/a>.\n<\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Title: Crie Futuros \/ Create Futures MovementType: Presentation \u00b7 Artistic Research \/ EducationDate: 2\u20133 December 2013Context: Inventing Futures \u2014 Artistic Research With(in) Educational InstitutionsLocation: ArtEZ Arnhem, The NetherlandsRole: Presenter \u00b7 Researcher Crie Futuros \/ Create Futures Movement The presentation introduced the ideas of Brazilian choreographer, futurologist, creative-economy consultant and activist Lala Deheinzelin, drawing particularly on … <\/p>\n

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