Thematische Bibliographien / Choreography

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Auswahl der wissenschaftlichen Literatur zum Thema „Choreography“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Choreography"

Tereshenko, N. „CULTURAL MODEL OF SCHOOLCHILDREN’S AESTHETIC EDUCATION BY MEANS OF BALL CHOREOGRAPHY“. Aesthetics and Ethics of Pedagogical Action, Nr. 23 (04.08.2021): 145–61. http://dx.doi.org/10.33989/2226-4051.2021.23.238274.

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The article suggests that due to the structural characteristics of the cultural model of schoolchildren’s aesthetic education by means of ball choreography, the main components were identified as cultural positions of ball choreography, means of ball choreography, and criteria of aesthetic education of schoolchildren in ball choreography. There are given the structural components of the cultural model of aesthetic education of schoolchildren by means of ball choreography, that are functioning within two regulatory bases – the functioning of informal choreographic education and the importance of subjects of the artistic and aesthetic cycle in the invariant part of secondary schools’ curricula. The first component is the cultural creation of personality, which will be considered as a process in the context of ball choreography. Active involvement of students in ball choreography is one of the ways of their personal emotional development and aesthetic growth. Communication with the art of choreography, music, physical development, expansion of aesthetic horizons, the formation of a culture of relationships (personal and public) become a basis for the cultural formation of the high school student within the process of ball choreography. The second component of the cultural positions of ball choreography is the cultural formation of the dancer. Education of the ball choreographer involves the creation of an appropriate creative artistic environment in which the teenager will constantly feel the need for personal, creative, and aesthetic self-realization. The third component of the cultural positions of ball choreography is the cultural formation of the artist-choreographer. Defining this position, we realize that high school students of ball choreography at a certain stage of their aesthetic development create a desire to turn this hobby into a profession. In the context of this idea, it is advisable to organize specialized art (choreographic) education within general secondary education. Despite the fact that underage dancers do not yet have a professional choreographic education, they can fully meet the set standards for a ball choreographer. The next block of our cultural model, which we define is means of ball choreography. Analyzing the functionality of the means of choreographic art, we focused on the following components: music, choreographic text, choreographic drawing, stage choreography, and choreographic drama.

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Monni, Kirsi. „Rethinking Conceptual Parameters of Choreography (in Social Spaces)—Actualization of Intensities in Discursive Fields“. Arts 13, Nr. 2 (21.03.2024): 59. http://dx.doi.org/10.3390/arts13020059.

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This article aims to take part in the ongoing discussion on the social and political potentialities as well as the conceptual premises of choreography and to contribute to the discussion about world relations in the choreographed movement. The much-used definition of Western choreography is “organized movement in space and time”. Although this definition always applies, it does not specify the world relations and worldmaking capacities of the choreographed movement. The main focus of this article is an ontological rethinking of the basic concepts of choreography: movement, space, time and organization, with the addition of kinaesthetic fields, kinaesthetic and spatial intelligence, virtual and actual realms, striated and smooth spaces (Deleuze and Guattari) and different conceptions of time. By analyzing these concepts, the aim is to provide a view of ontologically elementary units in choreography (such as a change in space, the difference over time and space, and passage to shared actuality), with a wider understanding of the inherent social relationality in choreographed movement. After discussing these topics, a few social choreography events and protests are described to represent different choreographic aims and organizational modes arising from each specific situation. The article concludes by proposing that choreography could be seen as organizing movement in space and time but also as a choreographic actualization of intensities in different discursive fields.

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Petkovski, Filip. „How to Choreograph a Socialist Society?“ Arts 13, Nr. 1 (11.01.2024): 15. http://dx.doi.org/10.3390/arts13010015.

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During the existence of Yugoslavia (1945–1991), the leading political ideology of “brotherhood and unity” had to be manifested in all forms of cultural life. Promoting the physically capable body as part of a larger cultural movement, Yugoslavia witnessed the transformation of physical daily regimens into mass bodily spectacles performed at stadiums, called sletovi, demonstrating the power of mass-choreographed discipline. Similarly, Yugoslav choreographers were encouraged to develop a distinct performance aesthetic based on stylization as a rhetoric for modernization, using folk dance as a medium to showcase and promote the collective body of the people through choreographed folklore spectacles. Focusing on these two case studies that exemplify how mass choreography was used as a strategy to choreograph the Yugoslav society, this paper analyzes how political ideologies and their constructions through physicality supported the Yugoslav state project, thereby pointing to the present-day remnants of these aesthetics in the post-Yugoslav republics, evident in mass protests. By utilizing archival and choreographic analysis, I demonstrate how movement and dance impacted the public understanding of unity and helped the creation of a Yugoslav socialist society, drawing from Andrew Hewitt’s thesis on “social choreography”.

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Leon, Anna. „Between and within choreographies: An early choreographic object by William Forsythe“. Dance Articulated 6, Nr. 1 (24.06.2020): 64–88. http://dx.doi.org/10.5324/da.v6i1.3639.

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In 1990, William Forsythe created The Books of Groningen – Book N(7), an installation commissioned by the Dutch city of Groningen and architect Daniel Libeskind. This early choreographic object is composed of a water canal, a series of willow trees pulled by wires in order to grow in arched shape and a bush hedge. At a time of marked interest in expanded choreography as it develops in conjunction with choreography’s links to visual art, as well as in choreographic history, this article considers Book N(7) in relation with diverse historical conceptions of choreography – as dance-making, as an organisation of moving bodies, as notation and pre/scription. This analysis shows that the installation negates certain aspects of choreographic history while exemplifying and perpetuating others, therefore situating itself between different historical construals of choreography. At the same time, it points to the ways in which Book N(7) defies the possibility both of complete ruptures and of smooth continuities with the choreographic past, engaging in a negotiation which reworks this past in the present. Framing this analysis of The Books of Groningen – Book N(7) by references to certain of Forsythe’s ulterior works, this article presents the installation as a part of the artist’s longlasting, shifting engagements with the notion and history of choreography.

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Blagova, T. „Dynamics of the Concepts Formation of the Profession of Choreographer in Ukraine (on the Material of Creativity of P. Virsky)“. Zhytomyr Ivan Franko state university journal. Рedagogical sciences, Nr. 4(86) (21.12.2016): 24–29. http://dx.doi.org/10.35433/pedagogy.4(86).2016.24-29.

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The article substantiates the importance of artistic and pedagogical heritage of outstanding Ukrainian choreographer P. Virsky in the development of the choreographic education in Ukraine. Content analysis of the creative legacy of choreographer has compiled the dominant direction of his professional activities which provided the formation and development of folk-stage choreography. Based on personal studio, biographical and bibliographical methods the article clarified the essence of the reform choreography of P. Virsky, its importance in the formation of the concept of Ukrainian choreographers. Ballet masters in the work of P. Virsky (staging, directing and tutoring) are organically combined with teaching activities (academic, educational, organizational, educational). The important tasks in choreographic and educational work of P. Virsky in the dance team determined the inclusion of young people in national traditions, instilling moral values, sense of national dignity, deep respect for the Ukrainian choreographic culture. Theoretically aesthetic and pedagogical principles of work of the choreographer, such as an individual approach, consistency, thoroughness, integrationist vocational and practical training are systematized. The choreographer has combined artistic and pedagogical activities in the team with choreographic education, systematically advised of Amateur dance groups on the issues of formation of repertoire, subject matter, style, ideologically-shaped orientation, technique. He provided the methodological support to the organizers of choreographic initiative, workers methodological divisions of cultural institutions. A generalization of the author's methods, technologies professional choreographic and pedagogical activities of P. Virsky allowed determining their components of the national choreographic education at the present stage.

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Uaidullakyzy, Elmira, Negmatzhan Sh Almetov, Sholpan Zh Turdaliyeva, Akmaral B. Aitzhanova und Gulmira M. Musakhanova. „Formation of professional mobility of future specialists in the process of choreographic education“. Cypriot Journal of Educational Sciences 16, Nr. 4 (31.08.2021): 1680–703. http://dx.doi.org/10.18844/cjes.v16i4.6050.

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One of the main conditions for the success of students of the specialty "choreography" in the modern labor market is professional mobility. This article is therefore aims to address the problem of forming professional mobility in higher educational institutions. The essence and significance of the formation of professional mobility of students of the specialty "choreography" was determined by the methods of analysis of psychological, pedagogical, scientific-methodological and special literature. Through the analysis of educational programs of Bachelor's degree in "choreography" in higher educational institutions, new opportunities and content for the formation of professional mobility of future choreographers are identified. With the help of systematization and evaluation methods, the results of improving the formation of professional mobility of students studying in the educational programs "choreography" were summed up. It was concluded that the formation of professional mobility of future choreographers should be a purposeful and systematic process, covering all stages of students' assimilation of educational programs, and must be guided by the achievement of high indicators of the formation of professional mobility. Keywords: choreographic education, future choreographer, professional mobility, University, content of choreographic education, formation of professional mobility

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Hilari, Johanna, und Julia Wehren. „Social Choreography as a Cultural Commoning Practice: Becoming Part of Urban Transformation in Une danse ancienne“. Arts 13, Nr. 2 (09.04.2024): 70. http://dx.doi.org/10.3390/arts13020070.

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This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of ‘expanded choreography’ and ‘cultural commoning’. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices.

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Borуsova, Yuliia, Oleksii Horpynich und Oleksandr Didkovskyi. „Choreography as a means of increasing the level of technical training of gymnasts 6-7 years“. Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), Nr. 1(129) (27.01.2021): 14–18. http://dx.doi.org/10.31392/npu-nc.series15.2021.1(129).03.

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Choreography in sports has long been established as a means of specialized training of high-class athletes, which helps to make compositions more vivid, original, expressive, spectacular. Thanks to the means of choreography, you can watch the wonderful, diverse performances of gymnasts, where for each athlete selected styles and nationalities, based on their physical characteristics and temperament. Therefore, the team work of a coach and choreographer is very important. The purpose of the work - to determine the effectiveness of choreography lessons in the training process of gymnasts 6-7 years. Research methods: analysis of scientific and methodical literature; pedagogical observation and experiment; testing; methods of mathematical statistics. Organization of the study. The research was conducted in SDYUSHOR DOO FST "Ukraine" on rhythmic gymnastics. The study involved 20 girls 6-7 years old, who attended sports school 5 times a week for 135 minutes. Research results. Based on the results of testing the initial level of choreographic training of gymnasts 6-7 years old, we can say that the level of choreographic training in both groups is almost the same and is insufficient for further sports improvement, so we have developed and implemented choreography lessons. The lesson consists of a classical exercise, in which the basic technique of dance skill is practiced. When studying choreography develops inversion, flexibility, coordination, stability, easy high jump; the correct posture is made; the musculoskeletal system is strengthened, and also culture of movements and ability to think creatively is formed. At the end of the experiment, retesting was performed, which showed that the level of choreographic preparation of the control group, which was engaged in the usual schedule, without the use of choreography lessons, almost did not change and only 2 exercises were performed at a high level. Meanwhile, in the experimental group, which was engaged in the developed methodology, there have been significant changes. All 10 exercises were demonstrated by gymnasts at high and above average levels. Prospects for further research. Development of choreography complexes for gymnasts 6-7 years old using objects for rhythmic gymnastics.

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Boldyreva, Vera, Aleksandr Keyno und Mikhail Bogdanov. „Elements usage of jazz gymnastics in the choreographic training of 12–14 years old “rhythmic” gymnasts“. Tambov University Review. Series: Humanities, Nr. 183 (2019): 112–17. http://dx.doi.org/10.20310/1810-0201-2019-24-183-112-117.

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The Russian school of gymnastics is distinguished by the high performing skills of female athletes, a wide range of styles, the composition integrity, which is achieved with the help of choreographic training. The concept of “choreography” includes everything that relates to the art of classical, folk, historical and everyday, modern dance. Choreographic training in gymnastics is understood as a system of exercises and influence methods aimed at nurturing the motor culture of the gymnasts, at expanding their arsenal of expressive means. In addition, when practicing chore-ography, flexibility and coordination of movements develops, strengthens the musculoskeletal system, increases the density of the workout, which has a positive effect on the cardiovascular and respiratory systems of the body, contributes to the development of special endurance. Along with this, choreography lessons solve technical training problems: mastering various elements and combinations, an individual image in the composition. To create an image, expressiveness is in-dispensable, which is inextricably linked with the beauty of the movements, grace, dancing character, etc. A choreographer in rhythmic gymnastics has to work with a constant shortage of time, since choreographic training is only part of the training process. This time is not enough for the full development of the “rhythmic” gymnasts’ choreography. A characteristic feature of training in jazz gymnastics is the performing of exercises that fully activate the body’s motor system, with the participation of the greatest possible number of muscle groups. Also for those engaged in jazz gymnastics is characteristic dynamism, expression, together with wide and smooth movements. The nature of the movements is expressive. All this contributes to the development of “rhythmic” gymnasts’ choreography. Analysis of scientific literature and practical experience indicates the lack of jazz gymnastics use in the choreographic training of “rhythmic” gymnasts. Our research is related to the development of this particular direction, which determines its relevance.

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Yakymchuk, Olena, Natalia Utesheva und Oleksandr Somyk. „THE PECULIARITIES OF TEACHING PERFORMING MUSIC COURSES TO STUDENTS OR CHOREOGRAPHY IN THE PROCESS OF THEIR PROFESSIONAL TRAINING“. Academic Notes Series Pedagogical Science 1, Nr. 195 (2021): 149–54. http://dx.doi.org/10.36550/2415-7988-2021-1-195-149-154.

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This article presents an analysis of the peculiarities of teaching performing music courses such as «orchestration tutorial» and «orchestral conducting» to students or choreography in the process of their professional training. The educational potential of these courses is shown to facilitate the development of professional qualities in a future choreography teacher. The research also focused on the psychological and pedagogical conditions of a successful pedagogical collaboration of the music teacher and a student of choreography. This study is aimed to contribute to the development of a new course of «Choreography» at the faculties specializing in art at state pedagogical universities of the country providing the modern teaching practice with an academic base in terms of the peculiarities of teaching performing music courses to students of choreography. teaching music and performance disciplines to students-choreographers has a problem-searching nature. This strengthens the subject-subject nature of the relationship between teacher and student, expands the possibilities of their creative interaction in classes on orchestral workshops and workshops on orchestral conducting. Successful interaction of a teacher-musician with a student-choreographer in the process of studying the laws of musical art and the basics of musical performance helps to stimulate interest in learning the latter, motivating the future of complex musical and choreographic activities in secondary school (performing, educational, creative or cognitive). on the formation of his personal qualities, professional skills, abilities, disclosure and realization of his creative potential. Psychological and pedagogical prerequisites for successful pedagogical interaction of a musician-teacher with a student-choreographer are provided by personality-oriented, competence and integration approaches of modern educational strategies.

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Mehr Quellen

Dissertationen zum Thema "Choreography"

Fishwick, Emma. „Choreography as landscape: Landscape discourse framing choreographic practice“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.

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At the centre of this research is the notion of landscape and how thinking and talking about landscape impacts choreography. The result of the research is a new work, Dance, Quiet Riot, and an exegesis discussing the process of making it as well an exploration of various art forms, field experiences and the area of cultural geography. I use the development and presentation of Dance, Quiet Riot as a case study or creative artefact, if you will, for how landscape discourse can support and intersect with choreographic practice. This exegetical discussion understands landscape as a relational conversation between the human and non-human, shaping the way one moves through and sees the world. I argue that ideas of landscape can be used as a tool for choreographic practice and propose that this process can be applied effectively to choreography across multiple or singular art forms. Dance, Quiet Riot explores themes of gendered visual materiality and how such ideas (quietly) underpin my way of seeing and moving in the world. These themes are discussed throughout the exegesis, however, they are considered secondary to the focus of the research itself, which is landscape as a tool for choreography. This research asks how might approaching choreography as a type of landscape (symbolic rather than literal) shape how choreography is made, watched and performed.

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Gorbet, Marsha. „Contemporary choreography at work : a new method of recording the choreographic process“. Thesis, Middlesex University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568527.

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Walter, Kathinka Julia. „Social dimensions of choreography : exploring choreography as a multidirectional process“. Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/17461/.

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The research contributes to the possibilities of challenging and expanding what a choreographer might be when he/she plays an interactive role in the performance event, investigating the artistic and social potentials of structured improvisation in relation to instant composition. It shifts the control between choreographer and dancers, addressing the traditional hierarchy within aspects of conditions of authority (Martin, 1985) and trust and power (Foucault, 1995). The choreographer is confronted with losing and gaining control, which can provoke vulnerability not usually visible in the performance context (Stuart, 2010). Dealing with participation, reflection and process challenges not only the identity of the role of the choreographer, but has consequences for the identity of the whole work. It raises questions of responsibility and ownership, questioning the choreographer’s single authorship for the work, offering opportunities to let the work grow by sharing authorship between all performers (Laermans, 2008, 2015). The unexpected energies of more people involved and the use of improvisation with its changeability allow choreography to be experienced as an open work (Margolis/1981, Rubidge/2000). Agreeing that dance is a social practice (Klien, 2008a), choreography can be seen as an illustration of the functioning (Lehmen, 2004) of the group of performers as a social system, with one element affecting the other, which makes the system constantly evolve (Luhmann, 1995). The interrelationships between all participants, including the audience that shape and form a system with significant features, become visible throughout the performance duration. Considering social interaction more broadly and with relevance beyond dance, choreography performs social norm and structures (Klein, 2013) and can illustrate changes within society to make them more apparent, proposing a springboard for debate. The research offers findings in terms of learning gained through working in groups; working with multi directional processes and the use of reflection provides a democratic, open and liberating space to all participants.

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Barker, Adam. „Flexible service choreography“. Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/8980.

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Service-oriented architectures are a popular architectural paradigm for building software applications from a number of loosely coupled, distributed services. Through a set of procedural rules, workflow technologies define how groups of services coordinate with one another to achieve a shared task. A problem with workflow specifications is that often the patterns of interaction between the distributed services are too complicated to predict and analyse at design-time. In certain cases, the exact patterns of message exchange and the concrete services to call cannot be predicted in advance, due to factors such as fluctuating network load or the availability of services. It is a more realistic assumption to endow software components with the ability to make decisions about the nature and scope of their interactions at runtime. Multiagent systems offer a complementary paradigm: building software applications from a number of self interested, autonomous agents. This thesis presents an investigation into fusing the agency and service-oriented architecture paradigms, in order to facilitate flexible, workflow composition. Our approach offers an agent-based solution to service choreography and is founded on the concept of shared interaction protocols. By adopting an agent-based approach to service choreography, active autonomous agents can utilise the typically passive service-oriented architectures, found in Internet and Grid systems. In contrast with statically defined, centralised service orchestrations, decentralised agents can perform service choreography at runtime, allowing them to operate in scenarios where it is not possible to define the pattern of interaction in advance. Application to real scenarios is a driving factor behind this research. By working closely with a number of active Grid projects, namely AstroGrid and the Large-Synoptic Survey Telescope (LSST), a concrete set of requirements for scientific workflow have been derived, based on realistic science problems. This research has resulted in the MultiAgent Service Choreography (MASC) language to express scientific workflow, methodology for system building and a software framework which performs agent based Web service choreography, in order to enact distributed e-Science experiments. Evaluation of this thesis is conducted through case study, applying the language, methodology and software framework to solve a motivating set of workflow scenarios.

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Pfitzner, Kerstin. „Choreography configuration for BPMN“. [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:93-opus-33758.

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Bays, Blakely Skylar. „A NEWFOUND PASSION-CHOREOGRAPHY“. Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/290.

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A Newfound Passion- Choreography analyzes the artistic process and life journey of creating choreography for musical theatre. My training as a dance minor at East Tennessee State University from 2011-2015 culminated in my final senior capstone experience as a choreographer for the ETSU Division of Theatre and Dance’s production of Oklahoma!. Composing a new musical theatre dance and analyzing the original choreography of Oklahoma! (and the art of choreography more generally) provided significant material for analysis, and the following research reflects what I learned and experienced. Overall, the experience of choreographing has changed the way I see myself as a dancer and has instilled in me a new sense of respect for choreographers around the world.

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Hourigan, Paul William. „Choreographic strategies to achieve visual communication within an original film narrative through academic ballet choreography“. Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/135200/4/Paul%20William%20Hourigan%20Thesis.pdf.

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This research explored the use of ballet in cinema narrative – specifically its efficacy as a source of visual communication once removed from the stereotypical characterizations, plotlines and cinematic tropes that have become associated with cinematic ballet. To test this efficacy, the project involved the production and choreography of an original featurette film, Nearly Not Me, followed by an audience survey for the collection of qualitative data. The findings identify eight choreographic strategies for the successful use of academic ballet choreography as a means of visual communication in film, inspiring other choreographers to challenge existing traditions to evolve.

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Whitelaw, Melanie. „Choreographic strategies for secondary school dance teachers“. Thesis, Queensland University of Technology, 2002.

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The NSW Dance Syllabus requires students to perform dance, learn how to compose dance and study dance works. These areas are taught under the three compulsory components of Performance, Composition and Appreciation. Dance teachers within NSW must choreograph for their students as a part of the requirements of the syllabus. This study focuses on that aspect of teaching Dance in NSW by investigating the choreographic processes of three professional choreographers working within the educational contexts of New South Wales and Queensland. Through the case study strategy, the researcher will find the similarities and differences between each case and acknowledge the factors that influence how they work, and what they do to produce a high standard of dance performance, technical skill and choreography within their given time frames. It is anticipated that this study will add to the available support of the NSW Dance Syllabus as it aims to document and recommend a range of choreographic strategies for use by the dance teacher.

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Che, Da. „Toward Humanoid Choreography and Dance“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337187519.

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Giese, Wolfgang. „The choreography of yeast mating“. Doctoral thesis, Humboldt-Universität zu Berlin, Lebenswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17657.

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Die Forschung an der Hefe Saccharomyces cerevisiae – auch als Bäckerhefe bekannt – hat sich für die biologische Grundlagenforschung als unentbehrlich erwiesen und führte zu wichtigen Erkenntnissen in der Erforschung von Krankheiten wie Krebs. Am Beispiel der Paarung von Hefezellen werden in dieser Arbeit wesentliche Aspekte der eukaryotischen Zellbiologie untersucht. In der Haplophase des Lebenszyklus der Hefe, treten haploide Zellen als Paarungstyp MATa oder MATα auf. Diese Paarungstypen kommunizieren über Pheromone, die in ein extrazelluläres Medium abgesondert werden und von Zelloberflächenrezeptoren des komplementären Paarungstyps erkannt werden. Hefezellen wachsen in die Richtung eines möglichen Paarungspartners, da sie sich nicht aktiv bewegen können. Die Auswertung von empirischen Daten aus der Fluoreszenzmikroskopie und Rasterkraftmikroskopie (AFM) mit mathematischen Modellen ermöglichte die Rekonstruktion wesentlicher Prozesse der Hefepaarung: (i) Interzelluläre Kommunikation über die Sezernierung und Rezeption von Pheromonen, (ii) Aufbau der Zellpolarität als Reaktion auf die Pheromonantwort, (iii) Induktion und Mechanik der Zellformänderung. Folgende Modelle wurden dazu entwickelt: (i) Die interzelluläre Kommunikation wurde unter Verwendung von zellulären Automaten mit Hilfe von Reaktions-Diffusions (RD) Gleichungen modelliert. Das Modell zeigte, dass die gegenseitige Stimulierung und erhöhte Pheromonabsonderung zu einer verbesserten Abstimmung in der Paarung in der Zellpopulation führt. (ii) Ein Turing- und ein Phasenseparations- Mechanismus wurden als Modelle zum Aufbau der Zellpolarität verwendet. Volumen-Oberflächen gekoppelte RD Gleichungen wurden analytisch und numerisch mit der Finite-Elemente-Methode (FEM) untersucht. (iii) Die Zellwandveränderung wurde mit klassischer Kontinuumsmechanik und der FEM Methode modelliert. Dies ermöglichte eine Beschreibung der reversiblen elastischen und der irreversiblen plastischen Verformungen der Zellwand.
Research on the yeast Saccharomyces cerevisiae – also known as baker’s yeast – has been essential not only for fostering basic biological knowledge but even more so for contributing towards understanding diseases such as cancer. In this thesis, general biological phenomena occurring in eukaryotic cells are investigated, exemplified by the mating process of yeast. In the haploid phase of their life cycle, yeast cells occur as mating type MATa or MATα, both of which communicate via pheromones that are secreted in an extracellular medium and can be sensed by cell-surface receptors of the complementary mating type. In order to mate, yeast cells grow towards a potential mating partner, since they are not able to actively move. Mathematical models on the basis of fluorescence and atomic force microscopy (AFM) data were developed. The key aspects of the yeast mating process that I examined were (i) intercellular communication of cells via pheromones, (ii) the initial symmetry break and implementation of cell polarity, and (iii) subsequent morphogenetic changes. The methods used and findings were as follows: (i) Pheromone secretion and sensing motifs were modelled using cellular automata models based on reaction-diffusion (RD) equations. My models show that mutual stimulation and increased pheromone secretion between cells improves mating efficiency in cell populations. (ii) To explain yeast mating decisions, two possible model types for cell polarity were tested: a Turing-type and a phase-separation mechanism. Bulk-surface RD equations were investigated analytically and numerically using the finite element method (FEM). Typical cell shapes were reconstructed in 2D and 3D. (iii) The cell wall was modelled using classical continuum mechanics that allows for reversible elastic and irreversible plastic cell wall deformation. Mathematical modelling demonstrated that all three processes investigated are precisely orchestrated and interlocked during yeast mating.

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Bücher zum Thema "Choreography"

Vendrame, Romeo. Choreography. [Zurich]: Superheated Edition, 2017.

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Butterworth, Jo, und Liesbeth Wildschut, Hrsg. Contemporary Choreography. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315563596.

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Rouhiainen, Leena, Kirsi Heimonen, Rebecca Hilton und Chrysa Parkinson. Writing Choreography. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003397427.

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DeFrantz, Thomas F., und Philipa Rothfield, Hrsg. Choreography and Corporeality. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54653-1.

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Goodwin, Marjorie. Embodied Family Choreography. 1 Edition. | New York : Routledge, 2018. | Series: Directions in ethnomethodology and conversation analysis: Routledge, 2018. http://dx.doi.org/10.4324/9781315207773.

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P, Cohan Robert, und Beck Jill, Hrsg. Choreography and dance. Reading: Harwood, 1991.

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Brown, Tracy. Staging and choreography. New York: Rosen Pub., 2013.

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Arundhati, P. Choreography in Mānasôllāsa (Nr̥tyavinôda). New Delhi: Preeti Publications, 1995.

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McCormack, Jess. Choreography and Verbatim Theatre. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92019-1.

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Gonzales, Joseph. Choreography: A Malaysian perspective. Kuala Lumpur, Malaysia: Akademi Seni Kebangsaan, 2004.

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Buchteile zum Thema "Choreography"

van der Aalst, W. M. P. „Choreography“. In Encyclopedia of Database Systems, 1–2. New York, NY: Springer New York, 2017. http://dx.doi.org/10.1007/978-1-4899-7993-3_1198-2.

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van der Aalst, W. M. P. „Choreography“. In Encyclopedia of Database Systems, 329. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-39940-9_1198.

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Kaminsky, David. „Choreography“. In Social Partner Dance, 73–88. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429344756-4.

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Thalmann, Nadia Magnenat, und Daniel Thalmann. „Choreography“. In Synthetic Actors, 87–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 1990. http://dx.doi.org/10.1007/978-3-642-75453-1_9.

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van der Aalst, W. M. P. „Choreography“. In Encyclopedia of Database Systems, 424–25. New York, NY: Springer New York, 2018. http://dx.doi.org/10.1007/978-1-4614-8265-9_1198.

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Bunn, Kristen E. „Classroom Choreography“. In Learning Democracy in School and Society, 33–40. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-287-0_3.

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Barbanera, Franco, Ivan Lanese und Emilio Tuosto. „Choreography Automata“. In Lecture Notes in Computer Science, 86–106. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50029-0_6.

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Su, Jianwen, und Yutian Sun. „Choreography Revisited“. In Lecture Notes in Computer Science, 13–25. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08260-8_2.

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Perrino, Sabina M., und Joshua O. Reno. „Workout Choreography“. In Pandemic Health and Fitness, 25–47. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003317036-2.

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Adams, Roderick. „Spatial choreography“. In Interior Design, 192–97. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429026225-30.

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Konferenzberichte zum Thema "Choreography"

Brown, Keren, und David Wei. „A Mobile Application for Creating Dance Choreography according to Musicality of Inputted Audio using Machine Learning“. In 11th International Conference on Signal Image Processing and Multimedia. Academy and Industry Research Collaboration Center (AIRCC), 2023. http://dx.doi.org/10.5121/csit.2023.130901.

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Even the best writers in history were not blessed enough to have a constant surge of inspiration, a never-endingflowof ink on paper, or fingers flying across keyboards. These blocks in creativity are commonly known as writer's block, and many people experience this, since communication is important in every subject. Less commonly knownisdancer's block, which is when a choreographer experiences a stop in inspiration while choreographing [1]. Theseblocks can continue for days or even weeks, before an idea strikes the dancer, setting back the ef iciency of choreographing. When due dates come into play, such as choreographing for a production, show, or assignment, adancer cannot put forth their best choreography, and will be left feeling unsatisfied with the quality of their work. When a choreographer faces a challenge towards creating original choreography, how can one gain inspirationtoovercome this block [2]? How can we ensure that the inspiration given is appropriate for the song and style whichthe choreographer is designing the dance to? This paper develops an application to choreograph visuals inacreative manner, while assessing the musicality of the audio in order to reflect the same emotion in the movement. We applied our application to a jazz piece to be performed as part of a local high school dance show and conducteda qualitative evaluation of the approach. The results show that with the software application, dancers will be abletofind inspiration to continue choreographing, pushing them past a barrier of creativity, and allowing themto finishtheir dance with a quality of choreography that they can be proud to present [3].

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Barretto, Wagner Rezende Muniz, Ana Cristina B. Kochem Vendramin und Mauro Fonseca. „RW-Through: A Data Replication Protocol Suitable for GeoDistributed and Read-Intensive Workloads“. In XVII Workshop em Clouds e Aplicações. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/wcga.2019.7592.

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The microservice architecture encourages the composition of services through choreography. Choreography favors loose coupling and decentralization. The challenge then arises of finding suitable approaches for carrying it out according to the architectural style proposed by the microservices. This paper describes and compares two strategies for choreographing microservices. The first strategy is event based and makes use of a mediator to convey the messages. The second is called choreographic programming and its great advantage is to provide an overview of choreography. A case study with four microservices was implemented in each strategy. Results include a comparative table and the number of messages per minute supported by implementations.

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Snyman, Bailey. „L.I.F.E.: Articulating an Embedded Choreographic Process“. In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35882.

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This paper explores the evolving landscape of choreographic research in South Africa, focusing on the interdisciplinary nature of contemporary choreography and its reliance on embodied knowledge. The paper examines the theory of tacit knowledge proposed by Michael Polanyi and its intersections with embodiment theories. It further investigates the four interpretations of tacit knowledge presented by Harald Grimen. The study documents the intuitive and implicit choreographic processes behind the creation of “L.I.F.E.: A History of Distance,” a dance-based physical theatre performance. The presentation highlights the importance of understanding choreography as an embodied arts practice and emphasizes the interplay between explicit and tacit knowledge in the choreographer’s creative process.

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Weiß, Andreas, Vasilios Andrikopoulos, Michael Hahn und Dimka Karastoyanova. „Fostering Reuse in Choreography Modeling Through Choreography Fragments“. In 17th International Conference on Enterprise Information Systems. SCITEPRESS - Science and and Technology Publications, 2015. http://dx.doi.org/10.5220/0005342000280036.

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Крулица, Анна. „Conversation with the past in contemporary choreography“. In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.18.

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My article examines the problem of the archival turn in scientific works and discourse that affects artistic practice, including the choreographic one. In recent years, we can find several attempts to reconstruct the performances of famous choreographers who worked in the 1920s and 1930s. Modern choreographers have recalled forgotten performances of the former era, but recalling these choreographic works, they want to give them a modern meaning. This attempt is similar to rewriting history. In this context of rewriting history, I want to emphasize the importance of bodily memory and bring the perspective of viewing the body as an archive. In my article, I pose questions about how to find traces of former works? How modern choreographers work with memory and with the body. The concept of the body as an archive and the experience of past generations associated with choreographic practice is at the center of my work. The body can hide the secret of trauma, the unconscious determination of behavior in bodily, physical play. The second problem raised in the article is about the relationship between the present and the past. Why do we need a turn in the past now? I consider Yanka Rudskaya’s biography and her approach to dance as an example. This article shows the role of feminine artistic practices in the space of choreography. Recent reflections concern the problem of transferring modern dance to modernity and its discovery.

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Pine, Katie. „Fragmentation and choreography“. In the ACM 2012 conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2145204.2145336.

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Basu, Samik, Tevfik Bultan und Meriem Ouederni. „Deciding choreography realizability“. In the 39th annual ACM SIGPLAN-SIGACT symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2103656.2103680.

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Ryan, Linda. „Action Camera Choreography“. In MOCO '20: 7th International Conference on Movement and Computing. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3401956.3404256.

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Apostol, Snejana. „The appearance and development of classical stage dance: premises and particularities“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.27.

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The appearence and development of the classical dance and, in particular, ballet was influenced by several internal and external factors and, first of all, by the evolution of popular choreographic art, ballet becoming the superior genre of choreographic art. In the present article, the stages of creation of the classical dance are analyzed at length, starting with the 14th century and ending with the contemporary era. The particularities of the development of the classical dance and ballet in the European countries, including the Republic of Moldova, are characterized. The dominant role of the great performers and choreographers in the development of ballet is also appreciated. At the same time, emphasis is placed on approaching ballet as a kind of synthetic choreographic art, which includes dramaturgy, music, choreography, plastic art.

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Nakazawa, Mario, und Andrea Paezold-Ruehl. „DANCING, Dance ANd Choreography“. In The Fifth Richard Tapia Celebration of Diversity in Computing Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1565799.1565807.

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Berichte der Organisationen zum Thema "Choreography"

Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.

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Bradley, Elizabeth, und Joshua Stuart. Using Chaos to Generate Choreographic Variations. Fort Belvoir, VA: Defense Technical Information Center, Januar 1997. http://dx.doi.org/10.21236/ada451993.

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Fritz, David J., Christopher B. Harrison, C. W. Perr und Steven A. Hurd. Choreographer Pre-Testing Code Analysis and Operational Testing. Office of Scientific and Technical Information (OSTI), Juli 2014. http://dx.doi.org/10.2172/1171431.

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.

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