Books on the topic 'Filtering response'

This chapter discusses Plutarch’s depiction of an eminent musician’s performance at a symposium, the audience’s enthusiastic response to his ‘bad’ music, and Callimachus’ speech in its defence. Plutarch’s copious array of intertextual allusions serves to alert readers to the moral message the account is designed to convey. Numerous verbal and thematic echoes of Plato’s dialogues undermine the glamorous persona the musician projects, and expose the irresponsibility of the listeners’ responses. Callimachus’ defence is in turn subverted by confusions and unacceptable implications brought out through its medley of intertexts, which open with a flurry of explicit allusions to Peripatetic writings but eventually return to reminiscences of Plato. The chapter ends with the suggestion that in responding to Plutarch’s text, readers may also be filtering it through memories of their own past musical experiences, bringing the relation between the text’s message and its vehicle close to a species of intermediality.

Mary Zimmerman’s dramatic adaptation of the Metamorphoses (1998) follows the staging of the Odyssey and represents a further instance of her ongoing engagement with the classical world. By filtering the Ovidian myths through a network of allusions (to Rilke, Jung, and Freud, among others) she reminds her audiences of the consolidation of classical myth within the Western tradition. At the same time she uses the play to meditate upon issues such as unbridled greed and capitalism, anorexia, and emotionally damaged ‘rich kids’. Her play is also underpinned by a profound sense of loss and grief. The innate sorrow of the play was heightened still further when audiences came to watch it after the 9/11 attacks, and their response to the play was informed by the horrors and deaths that they had experienced within their own communities.

Trial courts and their actors play critical gatekeeping and filtering roles within the judicial hierarchy. As this chapter discusses, the decisions made by litigants and judges in the millions of criminal and civil trial court cases in the United States each year affect things like what cases get filed, how cases develop, what cases settle or plea bargain and when, whether losing litigants will appeal, and, if they do, how the appellate courts will respond. This chapter proceeds by first examining the selection of disputes and charges that takes place by parties, prosecutors, and other lawyers prior to a case being filed in a trial court. Next, the chapter details the decision-making of trial court parties, lawyers, and judges. As the chapter concludes, it discusses the unique set of challenges present for interdisciplinary research on trial courts.

The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art. In Industry and Intelligence, the artist Liam Gillick writes a nuanced genealogy to help us appreciate contemporary art’s engagement with history even when it seems apathetic or blind to current events. Taking a broad view of artistic creation from 1820 to today, Gillick follows the response of artists to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works.

The Western approach to dance is largely focused on control and mastery of technique, both of which are certainly necessary skills for improving performance. But mindful attention, despite its critical role in high performance, has gotten short shrift—until now. Attention and Focus in Dance, a how-to book rooted in the 20 years of attentional focus findings of researcher Gabriele Wulf, will help dancers unlock their power and stamina reserves, enabling efficient movement, heightening their sensory perception and releasing their dance potential. Author Clare Guss-West—a professional dancer, choreographer, teacher and holistic practitioner—presents a systematic, science-based approach to the mental work of dance. Her approach helps dancers hone the skills of attention, focus and self-cueing to replenish energy and enhance their physical and artistic performance. A Unique, Research-Based Approach Here is what Attention and Focus in Dance offers readers: • A unique approach, connecting the foundations of Eastern movement with Western movement forms • Research-based teaching practices in diverse contexts, including professional dance companies, private studios, and programmes for dancers with special needs or movement challenges • Testimonies and tips from international professional dancers and dance educators who use the book's approach in their training and teaching • A dance-centric focus that can be easily integrated into existing training and teaching practice, in rehearsal, or in rehabilitation contexts to provide immediate and long-term benefits Guss-West explores attentional focus techniques for dancers, teachers and dance health care practitioners, making practical connections between research, movement theory and day-to-day dance practice. “Many dancers are using excessive energy deployment and significant counterproductive effort, and that can lead to a global movement dysfunction, lack of stamina and an increased risk of injury,” says Guss-West. “Attentional focus training is the most relevant study that sport science and Eastern-movement practice can bring to dance.” Book Organisation The text is organised into two parts. Part I guides dancers in looking at the attentional challenges and information overload that many professional dancers suffer from. It outlines the need for a systematic attention and focus strategy, and it explains how scientific research on attentional focus relates to dance practice. This part also examines the ways in which Eastern-movement principles intersect with and complement scientific findings, and it examines how the Eastern and scientific concepts can breathe new life into basic dance elements such as posture, turnout and port de bras. Attention and focus techniques are included for replenishing energy and protecting against energy depletion and exhaustion. Part II presents attention and focus strategies for teaching, self-coaching and cueing. It addresses attentional focus cues for beginners and for more advanced dancers and professionals, and it places attentional focus in the broader context of holistic teaching strategies. Maximising Dance Potential “Whether cueing others or yourself, cueing for high performance is an art,” Guss-West says. “Readers will discover how to format cues and feedback to facilitate effective neuromuscular response and enhance dancer recall of information and accessibility while dancing.” Attention and Focus in Dance offers an abundance of research-backed concepts and inspirational ideas that can help dancers in their learning and performance. This book aids readers in filtering information and directing their focus for optimal physical effect. Ultimately, it guides dancers and teachers in being the best version of themselves and maximising their potential in dance.