Academic literature on the topic 'Abstract choreography'
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Journal articles on the topic "Abstract choreography"
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Hall, Joshua M. "Sociohistorical Self-Choreography: A Second Dance with Castoriadis." Culture and Dialogue 7, no. 1 (May 7, 2019): 87–104. http://dx.doi.org/10.1163/24683949-12340058.
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Abstract Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self-choreography of the sociohistorical, in which performance the sociohistorical plays two dancing roles simultaneously, both choreographer and choreographed dancer. More precisely, as interpreted by Castoriadis in a late essay, the creation and emergence of forms in time consists of a poetic “scansion” or “scanning” of time. Thus, the sociohistorical is both choreographer and dancer, poet and reader, reinterpreting the poetic text of time as the music for its evolving dance.
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Bidyuk, Dmytro. "Professional Training of Choreography Students in European Universities." Comparative Professional Pedagogy 8, no. 4 (December 1, 2018): 39–46. http://dx.doi.org/10.2478/rpp-2018-0052.
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Abstract The article deals with the analysis of professional training of choreography students in European universities. It is indicated that choreography education is a certain system of dancing training, which cultivates students’ artistic, physical and technical skills necessary for the dancing profession, as well as develops their special knowledge. It is found that an indispensable component of learning is character and national dance. It is specified that the prospects of using foreign experience to modernize choreography education include different levels, namely the European level (an intensification of cooperation with international educational organizations, promotion of intercultural education and international relations through participation in cultural exchange programmes and international dance competitions and festivals), the national level (elaboration of appropriate legal and regulatory acts, design of national cultural and educational programmes for developing choreographic culture, introduction of new models of choreography training (theater dance, choreotherapy, modern dance), formulation of modern requirements for future specialists, allocation of budget on choreography development), the institutional level (administrative support of international scientific projects, introduction of appropriate strategies for developing choreographic industry, introduction of new courses, modernization of existing training programmes, introduction of innovative choreographic training programmes, creation of special programmes for students with special educational needs, Europeasation of lecture content, introduction of innovative elective modules at departments of choreography, organization of international workshops).
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Khokhlova, Daria. "Ballet "The Taming of the Shrew" by Jean-Christophe Maillot: peculiarities of authorial interpretation of the images of Katherine and Petruchio." Человек и культура, no. 1 (January 2022): 32–50. http://dx.doi.org/10.25136/2409-8744.2022.1.37356.
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The subject of this research is Jean-Christophe Maillot’s interpretation of the images of Katherine and Petruchio in the context of ideological-imagery parallels with the original text – W. Shakespeare’s comedy "The Taming of the Shrew". The article determines the expressive means and choreographic elements used by the choreographer to stage the lead roles, as well as their contextual comparison with the original literary text. The theoretical framework leans on the principles of ballet analysis developed by the ballet theoretician and historians Dobrovolskaya, Krasovskaya, Slonimsky, and Surits. The works by Lopukhov serve as the methodological basis for analysis of the shape and choreography. Other sources include video materials from the archives of Monte Carlo Ballet and Bolshoi Theater, recordings of staged rehearsals that took place from April to June 2014 (author's archive). The research employs the methods of ideological-artistic analysis, semantic analysis of construction and choreographic solution of the roles of Katherine and Petruchio, as well as method of included observation (personal participation in the performance). The novelty lies in revealing the innovative and modernized classical elements of choreography and staging developed by Maillot (leitmotif plasticity combinations, transforming symbolic moves). The detailed semantic analysis of the composition and choreography f the images of Katherine and Petruchio became the main instrument of research and allowed making the following conclusions. Interpretation of the images of the protagonists in the first act is conceptually similar to Shakespeare's text and slightly adapted in accordance with the expressive potential of ballet art and authorial artistic tasks. In the second act, the choreographer shifts the compositional and plotline focus, highlighting not the final scenes, but the full-scale duet of the protagonists, where the plasticity solution is transformed depending on the changes in their emotional states. Namely abstract and visual plasticity ideation individualizes the choreographic style of Maillot and underlies his interpretation of the profound plotline of Shakespeare's comedy.
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Mehdipour Ataee, Shahin, and Zeki Bayram. "An Improved Abstract State Machine Based Choreography Specification and Execution Algorithm for Semantic Web Services." Scientific Programming 2018 (2018): 1–20. http://dx.doi.org/10.1155/2018/4094951.
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We identify significant weaknesses in the original Abstract State Machine (ASM) based choreography algorithm of Web Service Modeling Ontology (WSMO), which make it impractical for use in semantic web service choreography engines. We present an improved algorithm which rectifies the weaknesses of the original algorithm, as well as a practical, fully functional choreography engine implementation in Flora-2 based on the improved algorithm. Our improvements to the choreography algorithm include (i) the linking of the initial state of the ASM to the precondition of the goal, (ii) the introduction of the concept of a final state in the execution of the ASM and its linking to the postcondition of the goal, and (iii) modification to the execution of the ASM so that it stops when the final state condition is satisfied by the current configuration of the machine. Our choreography engine takes as input semantic web service specifications written in the Flora-2 dialect of F-logic. Furthermore, we prove the equivalence of ASMs (evolving algebras) and evolving ontologies in the sense that one can simulate the other, a first in literature. Finally, we present a visual editor which facilitates the design and deployment of our F-logic based web service and goal specifications.
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Dodds, Sherril. "The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease." Dance Research Journal 46, no. 2 (August 2014): 39–56. http://dx.doi.org/10.1017/s0149767714000278.
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Although the face possesses potent social and symbolic meaning, the “dancing face” is rarely addressed in dance scholarship. In spite of its neglect, the face participates choreographically in the realization of aesthetic codes and embodied conventions that pertain to different dance styles and genres. I therefore turn to Gilles Deleuze and Felix Guattari's (1987) theory of “faciality” to understand the semiotic coding of the face in relation to the Busby Berkeley chorus girl. Although their work offers an important critique of universalist theorizations of facial expression, I argue that “facial choreography” offers scope to dismantle the legibility of the face that is produced through the overcoded “abstract machine of faciality.” To do so, I introduce the concept of a “choreographic interface” to explore how facial expression enters into a choreographic relationship with other faces and bodily territories. With this in mind, I explore two dancing bodies that engage the face in ways that complicate existing modalities of facial expression. I analyze a hip-hop battle and a neo-burlesque striptease number to show how the mobility and ambiguity of facial choreography opens a dialogic space through which meaning is generated and social and political critique take place.
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Huvila, Isto, and Olle Sköld. "Choreographies of Making Archaeological Data." Open Archaeology 7, no. 1 (January 1, 2021): 1602–17. http://dx.doi.org/10.1515/opar-2020-0212.
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Abstract A lot of different concepts have been utilised to elucidate diverse aspects of archaeological practices and knowledge production. This article describes how the notion of choreography can complement the existing repertoire of concepts and be used to render visible the otherwise difficult to grasp physical and mental movements that make up archaeological work as a practical and scholarly exercise. The conceptual discussion in the article uses vignettes drawn from an observation study of an archaeological teaching excavation in Scandinavia to illustrate how the concepts of choreography, choreographing, and choreographer can be used to inquire into archaeological work and data production. In addition to how explicating physical, temporal, and ontological choreographies of archaeological work can help to understand how it unfolds, the present article suggests that a better understanding of the epistemic choreographies of archaeological, scientific, and scholarly work can help to unpack and describe its inputs and outputs, the data it produces, what the work achieves, and how it is made in space and time.
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D'Oleo, Dixa Ramírez. "Broken Automatons and Barbed Ecologies in Ligia Lewis's Choreographic Imaginary." Social Text 39, no. 2 (June 1, 2021): 51–67. http://dx.doi.org/10.1215/01642472-8903606.
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Abstract This article considers choreographer Ligia Lewis's hour-long ensemble performance Water Will (in Melody) to theorize on the relationship between ecological fugitivity and black fugitive movement. It explores how Lewis's choreography disrupts the colonial space-times of colonialism and slavery by offering portals into other space-times. In Water Will (in Melody), racialized assemblages break down from overuse and from glaring surveillance in the form of illumination. The last few minutes of the piece evoke an ambivalent postapocalyptic space-time where darkness becomes textured with what seems to be moonlight peeking into a wet cave. This ending evokes the ecological of histories of fugitivity and the earthiness of Édouard Glissant's concept of opacity, both frequently overlooked in discussions of black fugitivity. The final section traces Lewis's fugitive choreography into what the article calls the barbed ecologies of the hills of the Dominican Republic and Haiti, sites of black and indigenous marronage and symbiosis.
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Strelkin, Ivan. "Echoing choreographies." Maska 36, no. 205 (December 1, 2021): 111–19. http://dx.doi.org/10.1386/maska_00093_1.
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Abstract The article discusses the problem of spectatorship in relation to dance. Observing connections between a choreography and spectators’ responses to it, the author points the reader’s attention to the phenomenon of re-performing and introduces the concept of an echoing choreography a choreography that is re-performed by its spectators without explicit collaboration with its creator. Articulating the special role of internet video hostings and social networks in the process of content reproduction and spreading, the author juxtaposes the phenomena of memes and challenges with the artistic practices of reenactment in professional dance.
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Lepecki, André. "Choreography as Apparatus of Capture." TDR/The Drama Review 51, no. 2 (June 2007): 119–23. http://dx.doi.org/10.1162/dram.2007.51.2.119.
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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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Beisswanger, Lisa. "Architecture and/as Choreography: Concepts of Movement and the Politics of Space." Dimensions 1, no. 2 (May 1, 2021): 23–50. http://dx.doi.org/10.14361/dak-2021-0204.
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Abstract Dance projects exploring and interpreting architecture through choreography have become increasingly popular over the past two decades. This article takes a similar but theoretical approach, using the concept of choreography as a lens to look at the underlying scripts that shape the ways in which subjects move in, and are being moved by, architecture. Typically associated with the field of dance, choreography refers to spatial ordering principles, evoking highly political questions of authorship and authority, interpretation, improvisation, appropriation, accessibility, inclusion, and exclusion. Applying historical and comparative analysis, this article focuses on seminal examples from the fields of 20th-century Western dance and architecture. By mapping out evolving concepts and constellations of architecture and/as choreography, it aims to help create awareness of the spatial politics of architecture and their historical situatedness.
Dissertations / Theses on the topic "Abstract choreography"
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Buday, Csaba Steven. "Exploring the abstract language of contemporary dance in order to create emotional states/nuances." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16420/1/Csaba_Buday_Thesis.pdf.
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This study investigates how a choreographer, through the abstract language of contemporary dance, generates emotional states/nuances which can be recognised but at the same time allow for ambiguity in the reading of the work. This investigation was addressed through a series of performance projects, culminating in the final dance work Inhabited Space. The setting for the work, triggered by Bachelard's The Poetics of Space, became the imagined spaces of a domestic urban environment, specifically the lounge and bedroom. In order to create a work reflecting emotional states and nuances, a range of choreographic processes were explored to inform the construction of movement vocabulary, framed by performer/space/object relationships. This studio-based study with performative outcomes was supported by a hybrid methodological approach of predominantly practice-led research, incorporating aspects of action research and phenomenology. Findings and understandings emerged from reflective practice in the exegesis but were primarily embedded within the creative work itself.
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Buday, Csaba Steven. "Exploring the abstract language of contemporary dance in order to create emotional states/nuances." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16420/.
Full textAbstract:
This study investigates how a choreographer, through the abstract language of contemporary dance, generates emotional states/nuances which can be recognised but at the same time allow for ambiguity in the reading of the work. This investigation was addressed through a series of performance projects, culminating in the final dance work Inhabited Space. The setting for the work, triggered by Bachelard's The Poetics of Space, became the imagined spaces of a domestic urban environment, specifically the lounge and bedroom. In order to create a work reflecting emotional states and nuances, a range of choreographic processes were explored to inform the construction of movement vocabulary, framed by performer/space/object relationships. This studio-based study with performative outcomes was supported by a hybrid methodological approach of predominantly practice-led research, incorporating aspects of action research and phenomenology. Findings and understandings emerged from reflective practice in the exegesis but were primarily embedded within the creative work itself.
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Tolmie, Julie, and julie tolmie@techbc ca. "Visualisation, navigation and mathematical perception: a visual notation for rational numbers mod1." The Australian National University. School of Mathematical Sciences, 2000. http://thesis.anu.edu.au./public/adt-ANU20020313.101505.
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There are three main results in this dissertation.
The first result is the construction of an abstract visual space for rational
numbers mod1, based on the visual primitives, colour, and rational radial
direction. Mathematics is performed in this visual notation by defining
increasingly refined visual objects from these primitives. In particular,
the existence of the Farey tree enumeration of rational numbers mod1
is identified in the texture of a two-dimensional animation.
¶
The second result is a new enumeration of the rational numbers mod1,
obtained, and expressed, in abstract visual space, as the visual object
coset waves of coset fans on the torus. Its geometry is shown to encode
a countably infinite tree structure, whose branches are cosets, nZ+m,
where n, m (and k) are integers. These cosets are in geometrical 1-1
correspondence with sequences kn+m, (of denominators) of rational
numbers, and with visual subobjects of the torus called coset fans.
¶
The third result is an enumeration in time of the visual hierarchy of the
discrete buds of the Mandelbrot boundary by coset waves of coset fans.
It is constructed by embedding the circular Farey tree geometrically into
the empty internal region of the Mandelbrot set. In particular, coset fans
attached to points of the (internal) binary tree index countably infinite
sequences of buds on the (external) Mandelbrot boundary.
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Tolmie, Julie. "Visualisation, navigation and mathematical perception: a visual notation for rational numbers mod1." Phd thesis, 2000. http://hdl.handle.net/1885/6969.
Full textAbstract:
There are three main results in this dissertation. The first result is the construction of an abstract visual space for rational numbers mod1, based on the visual primitives, colour, and rational radial direction. Mathematics is performed in this visual notation by defining increasingly refined visual objects from these primitives. In particular, the existence of the Farey tree enumeration of rational numbers mod1 is identified in the texture of a two-dimensional animation. The second result is a new enumeration of the rational numbers mod1, obtained, and expressed, in abstract visual space, as the visual object coset waves of coset fans on the torus. Its geometry is shown to encode a countably infinite tree structure, whose branches are cosets, nZ+m, where n, m (and k) are integers. These cosets are in geometrical 1-1 correspondence with sequences kn+m, (of denominators) of rational numbers, and with visual subobjects of the torus called coset fans. The third result is an enumeration in time of the visual hierarchy of the discrete buds of the Mandelbrot boundary by coset waves of coset fans. It is constructed by embedding the circular Farey tree geometrically into the empty internal region of the Mandelbrot set. In particular, coset fans attached to points of the (internal) binary tree index countably infinite sequences of buds on the (external) Mandelbrot boundary.
Books on the topic "Abstract choreography"
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Žiūraitytė, Audronė. NE VIEN APIE BALETĄ--: Recenzijų ir straipsnių rinkinys : Abstracts and Articles on Lithuanian Ballet in English and German. VILNIUS: KRANTAI, 2009.
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Phelan, Peggy. Planning for Death’s Surprise. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.13.
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The temporal conjunctions of the deaths of Pina Bausch and Merce Cunningham provide an opportunity to think carefully about the afterlife of choreography. While Cunningham died with a formal legacy plan in place and Bausch did not, issues of obligation to art and to living dancers also have bearing on dance legacy. The chapter considers transformations in the proliferation and ease of documentary records, the pressure to make room for the new, gender and sexuality, and postwar consciousness as important factors in the legacy issues of Bausch and Cunningham. Moving between specific details about each choreographer’s death and more abstract structures of death, the surprise of death’s uneven temporal arrival in the living significantly informs the afterlife of Cunningham and Bausch.
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Oklopcic, Zoran. Many, Other, Place, Frame. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198799092.003.0003.
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Focusing on the scenic dimension of the visual register of constituent imagination, Chapter 3 focuses on how select early modern, modern, and contemporary theorists stage the scenes in which a sovereign (people) appears either as the author or as the outcome of the act of constitution. Building on Kenneth Burke’s theory of dramatism, the chapter shows how choreographed interplay among four abstract stage ‘props’ allows constitutional thinkers to stage one of the most important attributes of sovereignty—its capacity for creatio ex nihilo. Through a series of engagements with Hobbes, Rousseau, Schmitt, Sieyès, Lefort, and others, Chapter 3 reveals how they conformed to the unwritten laws of constituent dramatism, as well as the tricks they resorted to in order to bring a sovereign people into imaginative existence.
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Walden, Joshua S. Celebrity, Music, and the Multimedia Portrait. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.003.0005.
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Chapter 4 examines hybrid works of multimedia portraiture and the genre of the portrait opera. The chapter first views the Voom Portraits of the American avant-garde director Robert Wilson, an ongoing series of multimedia video portraits of celebrities begun in 2004, looking in particular at his portraits of actors Robert Downey Jr. and Winona Ryder, which combine high-resolution film image with eclectic sound effects and scores by composers Tom Waits and Michael Galasso. The chapter then turns to the portrait opera Einstein on the Beach, created by Wilson, Philip Glass, and choreographer Lucinda Childs, to explore how they produced a multimedia portrait of Einstein that employs disparate allusions to popularly known elements from his life in a highly abstract work of opera that leaves the viewer to engage in a particularly imaginative act of interpretation about how the music describes this well-known modern icon.
Book chapters on the topic "Abstract choreography"
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Fabius, Jeroen. "The body as the stage of abstract space." In Contemporary Choreography, 417–30. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315563596-35.
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Pakes, Anna. "Are Dance Works Real?" In Choreography Invisible, 141–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.003.0007.
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The chapter considers whether dance works, if they are norm-types, are creatable given that types are conventionally understood to be eternally existing abstracta. It explores whether an account of dance creation as discovery is plausible, critically examining the adaptability to dance of Julian Dodd’s defence of a Platonist ontology of musical works. Problems Dodd raises concerning the putative creatability of indicated types prompts discussion of alternative views, including Amie Thomasson’s arguments that multiple works are abstract artefacts. The chapter critically considers also a simple nominalist view of dance works as sets of performances, and sketches a fictionalist ontology of dance works (following Andrew Kania’s similar discussion of musical works). The fictionalist leanings of some dance discourse critical of the idea of the work is highlighted, and a claim made for the reality of dance works as social objects.
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McCarren, Felicia. "Somebody or Anybody? Hip-Hop Choreography and the Cultural Economy." In Post-Migratory Cultures in Postcolonial France, 185–201. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0011.
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Kader Attou’s 2013 hip hop choreography The Roots provides a working context and playing field for a new generation. While hip hop continues to evoke racial, ethnic, or cultural difference in France, as urban concert dance it has allowed dancers of diversity to become ‘somebody’: as professionals working at a National Choreographic Center, their performances enact their integration via dance. But if the dancers are ‘somebody,’ it is because choreography’s figural language allows them to be anybody—to become artists unmarked by their origin, moving through their bodies beyond the ethnic or class labels to a space of self-expression and self-creation. The recognizable hip hop moves anchor the choreography in the language of the banlieues, but the gestures and emotions and abstract narrative stage difference on a stage that is graced with talent, an audience, and institutional support.
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Martincich, Dustyn. "Revolutionary Movement." In Dueling Grounds, 149–63. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938840.003.0011.
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This chapter explores Andy Blankenbuehler’s revolutionary use of ensemble choreography for Hamilton. By rethinking traditional functions of dance in musical theater productions, Blankenbuehler mobilizes the ensemble to drive the narrative by activating the liminal spaces in and between scenes to synthesize the score, movement, and design elements. Blankenbuehler’s choreography employs dance to define or give texture to transitions and fills narrative gaps in time and space. As Hamilton’s ensemblists move between portraying abstract emotional entities and portraying actual characters in the story, their movement becomes the primary indicator of the passage of time and connects necessary storytelling elements. Blankenbuehler’s choreographic choices in movement vocabulary, spatial composition, and styles that fuse dance genres, deems ensemblists vital in threading Hamilton’s visual, physical, lyrical, and rhythmic narrative together while engaging audiences with an effortless suggestion of spectacle.
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Hafner, Michael, Barbara Weber, Ruth Breu, and Andrea Nowak. "Model Driven Security for Inter-Organizational Workflows in E-Governent." In Information Security and Ethics, 2686–703. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-937-3.ch179.
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Model Driven Architecture is an approach to increase the quality of complex software systems by creating high-level system models and automatically generating system architectures and components out of these models. We show how this paradigm can be applied to what we call Model Driven Security for inter-organizational workflows in e-government. Our focus is on the realization of security-critical inter-organizational workflows in the context of Web services, Web service orchestration and Web service choreography. Security requirements are specified at an abstract level using UML diagrams. Out of this specification security relevant artifacts are generated for a target reference architecture based on upcoming Web service security standards. Additionally, we show how participants of a choreography use model dependencies to map the choreography specifications to interfaces for their local workflows.
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Hafner, Michael, Barbara Weber, Ruth Breu, and Andrea Nowak. "Model Driven Security for Inter-Organizational Workflows in E-Governent." In Secure E-Government Web Services, 233–53. IGI Global, 2007. http://dx.doi.org/10.4018/978-1-59904-138-4.ch014.
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Model Driven Architecture is an approach to increase the quality of complex software systems by creating high-level system models and automatically generating system architectures and components out of these models. We show how this paradigm can be applied to what we call Model Driven Security for inter-organizational workflows in e-government. Our focus is on the realization of security-critical inter-organizational workflows in the context of Web services, Web service orchestration and Web service choreography. Security requirements are specified at an abstract level using UML diagrams. Out of this specification security relevant artifacts are generated for a target reference architecture based on upcoming Web service security standards. Additionally, we show how participants of a choreography use model dependencies to map the choreography specifications to interfaces for their local workflows.
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Macalalad Bragin, Naomi. "Streetdance and Black Aesthetics." In The Oxford Handbook of Hip Hop Dance Studies, 347—C19.P94. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190247867.013.36.
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Abstract The contemporary global hyperconsumption of Hip Hop dance—spanning Hollywood, TV and film, international competition circuits, dance festivals, commercial industry studios, and social media—emphasizes high-intensity, choreocentric group routines and rapid-fire replication of steps. Yet cultural practitioners relate Hip Hop dance historically to a network of streetdances—cultural practices based in black social life that undo the Western neoliberal dance industry’s prevailing hierarchy of choreography over improvisation. Streetdance practitioners incorporate choreographic structures within improvisational practices of rhythm-making like bouncing and grooving, which provide alternatives to a Eurocentric construct of linear time. This chapter draws on the embodied and verbal discourse of streetdancers who teach in studios, as they navigate logics of studio dance technique to translate the “street.” I attend to little pedagogical moments when black aesthetic activity surfaces in the context of studio teaching, considering how streetdancers use these moments to shape ethical relationships of cultural exchange. Black aesthetics call for different investments of practitioners to actively refuse the global extraction, objectification, and commodification of streetdance.
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Graham, S. Scott. "How to Make an AI." In The Doctor and the Algorithm, 20–40. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197644461.003.0002.
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Abstract This chapter describes how health artificial intelligence (AI) development is embedded in multifaceted sociotechnical systems that involve not only cutting-edge advances in computer science and medicine, but also scientific standards, regulatory structures, and economic systems. It describes how algorithms find patterns in numeric representations, and how AI accuracy is measured following one of several conflicting approaches established by federal regulation and scientific communities. The chapter details how AI development is a complex choreography of humans and technology. It also offers an orientation to the technical details of AI development and explores how the many systems that compose AI are assembled into a single package or product. Along the way, the chapter describes how bias can enter the sociotechnical systems of deep medicine in different ways at different moments in the AI development process.
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Horowitz, Mark Eden. "1950." In The Letters of Oscar Hammerstein II, 502–60. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197538180.003.0009.
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Abstract Hammerstein gives advice to the producer of Gentlemen Prefer Blondes re “Diamonds Are a Girl’s Best Friend.” The Rodgers and Hammerstein-produced play, The Happy Time, opens. Rodgers and Hammerstein invest in Come Back, Little Sheba. Beatrice Lillie wants Rodgers and Hammerstein to write her a musical based on Mary Poppins. Work begins on The King and I, including discussions about Gertrude Lawrence, Jerome Robbins discussing his research for the choreography, and designer Jo Mielziner reporting his discoveries about using elephants. Hammerstein has a serious debate with Josh Logan about how faithful shows should be to their original productions. Carousel opens in the West End. Hammerstein discusses the United World Federalists and the situation with Russia with Maxwell Anderson. Hammerstein explains the difficulties in hiring a woman stage manager to Ruth Mitchell. Hedy Lamarr wants Rodgers and Hammerstein to write her a musical based on The Little Prince.
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Johnson, Imani Kai. "Battling in the Bronx." In Dark Matter in Breaking Cyphers, 63–94. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190856694.003.0003.
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Abstract Opening with “Superheroes Among Us,” which recounts a community cypher in the Bronx, chapter 2 recognizes the imprint of New York City and specifically the South Bronx on breaking. Aspects of Hip Hop’s quintessential qualities that are captured in the warrior aesthetics of breaking are also wrapped up in life and living in New York City during the 1970s. The chapter deploys two key terms, “social choreography” and “outlaw culture,” to capture that imprint on breaking’s battling culture specifically, and how it gets lived by practitioners and shaped by their corporealities. Battling principles, as introduced by Trac2, are elaborated on in oral histories from Aby, Cartoon, Baby Love, and Kwikstep. I draw attention to the possibilities enabled by an outlaw sensibility, which I argue developed in the margins of society and intersect with Africanist aesthetics. Those sensibilities helped early practitioners navigate the cypher and everyday life in the Bronx.
Conference papers on the topic "Abstract choreography"
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Dai, Guiping, and Yong Wang. "Relation of Web Service Orchestration, Abstract Process, Web Service and Choreography." In 2020 7th International Conference on Information Science and Control Engineering (ICISCE). IEEE, 2020. http://dx.doi.org/10.1109/icisce50968.2020.00220.
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Law Adams, Marie, and Daniel Adams. "The Choreography of Piling: Active Industry in the City." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.34.
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Gravel, salt, sand, cobbles, and scrap metal – dry bulk materials fundamental to making and maintaining the built environment – are piled in or around coastal cities. The pile is the architecture of the holding stage between a material’s arrival and accumulation from one mode (such as ship or rail) and its distribution into the city through another (most commonly, the truck). Although these piles often approach the scale of large buildings and natural landforms, and their presence is a fixture in the built environment, they are overlooked as a matter of design. In recent decades, some artists and architects have explored piles and pile-making as an abstract formal condition or alternative to conventional modes of formal organization, but engaging the pile as an active form-making structure in the city has been confined to designating territories for piles through use based zoning protocols (“industrial”), or through the construction of containers to enclose them (sheds). Both of these standard practices fail to negotiate the distinctive qualities of piles as a temporary, kinetic, and authentic architecture in the city, and inhibit the collective engagement between the city and an expression of its global material footprint. This paper will explore the morphology of piles and present tactics for engaging them in pursuit of new notions of authenticity, monumentality, and temporality as a byproduct of global flow through three realized projects by our firm, Landing Studio, that choreograph the architecture of industrial road-salt piles in Boston and New York City.
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Tremblay, Marjolaine. "Multiple creatures choreography on Star Wars: (Episode I “The Phantom Menance”)." In ACM SIGGRAPH 99 Conference abstracts and applications. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/311625.312018.
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Gantchevа, Giurka. "DYNAMICS IN THE DIFFICULTY IN RHYTHMIC GYMNASTICS COMPETITIVE ROUTINES." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/72.
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ABSTRACT Rhythmic gymnastics, like other sports disciplines called “artistic”, is continuously developing in a sports-technical sense. Gymnastics varieties, such as “dance gymnastics”, “rhythmical gymnastics”, “expressive gymnastics”, and “plastic and stage expression gymnastics” have lost their individuality but different elements of their means of expression find their place in the requirements for composition. The efforts of the specialists in this sport are aimed at preserving the identity of this sports discipline, namely, using various musical accompaniments and a wide range of dance movements combined with complex exercises. The aim of the research was to trace the development of the difficulty in routines and a retrospect of the main indicators for making competitive routines for the period 1963-2021 was made with the use of a theoretical and synthesis method. The evaluation of dance elements and complex exercises in competitive programs of gymnasts was in the very first Code of Rules known. There are three different components – difficulty of the exercises, general impression, and accuracy of execution. The general changes in the difficulty of the exercises can be clearly seen if we divide the Codes of Rules into the following periods: 1) 1963-1971, 2) 1976-1984, 3) 1997-2005, and 4) 2009-2021. The changes are due to two major factors: - objective – perfection of the training process, emergence of new exercises, gymnasts’ exclusive motor abilities; choreographs, musicians, dancer’ participation in gymnasts’ preparation; - subjective – creation and modification of the rules by members of rhythmic gymnastics technical committee who are representatives of different schools and cultures, with different concepts about the development of the future image of this sport. The retrospect of the requirements in the competitive rules shows that the greatest transformation of rhythmic gymnastics is in its turning into a complex sport.