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Journal articles on the topic 'Minimal Dance'
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Lelunu, Sapta, Kesia Rosalina Putri, Daniel, Nia Olivia, and Nova Lady Simanjuntak. "Art and Philosophy: Harmony of Giring-Giring Dance, Manganjan Dance, Tambun Bungai Dance of Kalimantan Tengah." Harmonia : Journal of Music and Arts 1, no. 1 (November 1, 2023): 1–25. http://dx.doi.org/10.61978/harmonia.v1i1.71.
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The possibility of tradition collaborating with dance, music and performance art is an amazing art. However, it becomes problematic if the space to perform one of the parts of tradition, namely dance as an art or work in certain regions or localities, is still minimal. Either from the history of dances from certain regions, for example Central Kalimantan, especially the Ma'anyan Dayak community, or the method of usage or meaningful values in the form of ribut rukun, togetherness, care and exploration space. This research method uses a literature review that examines the results of previous studies as secondary sources, online media, and accompanying photos of dances originating from Central Kalimantan. The findings show that the Dayak Giring-Giring dance, Manganjan Dance and Tambun Bungai Dance have a variety of cultural richness, the meaning of friendship, as well as a rich history that must get space from generation to generation to the global community as a cultured, dignified, valuable and communal dance.
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Wahyuni, Fitri, and Malta Nelisa. "Pembuatan Purwarupa Ensiklopedia Tarian Adat Minangkabau." Ilmu Informasi Perpustakaan dan Kearsipan 8, no. 1 (October 29, 2019): 476. http://dx.doi.org/10.24036/107302-0934.
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AbstractIn this paper we discuss Minangkabau traditional dances in the form of an encyclopedia prototype. The objectives of writing this paper are: (a) to describe the community's needs for information about Minangkabau traditional dances; (b) describes the process of making an encyclopedia of traditional Minangkabau dance prototypes; and (c) describe the constraints and efforts in making an encyclopedia prototype of Minangkabau traditional dance. This study uses a descriptive method with data collection techniques through direct observation and direct interviews with seven different professions, such as the community, students, students, tourists and owners of the Syofyani dance studio. Based on the analysis of the data it can be concluded as follows: First, the need for information about Minangkabau traditional dances is very minimal from the community, this can be seen from people who are not very interested in information about Minangkabau traditional dances because Minangkabau traditional dances are rarely performed and there are no information media which specifically discusses Minangkabau traditional dances. So that the Minangkabau traditional dance is shifted by outside dances such as dance and k-pop. Second, the making of an encyclopedia prototype of Minangkabau traditional dance through several stages, namely: (a) information needed about traditional Minangkabau dances; (b) data collection is done by interviewing techniques; (c) prototype product design encyclopedia of Minangkabau traditional dance using the Photoshop CS6 application; and (d) the resulting form is an encyclopedia prototype which contains information about the types of dance, dance philosophy, property used, music, clothing used in the dance, along with supporting images. Third, constraints and efforts in producing encyclopedias prototype products, namely: (a) resource persons who know about information about Minangkabau traditional dances are difficult to find and efforts to overcome them are done by making an appointment beforehand to the speakers; (b) data collection such as books on Minangkabau traditional dances is difficult to obtain and efforts to determine them are carried out by obtaining data from journals that discuss traditional dances.Keywords: Prototype, Encyclopedia, Minangkabau Indigenous Dance
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Hsieh, Chi-Min, and Annie Luciani. "Minimal dynamic modeling for dance verbs." Computer Animation and Virtual Worlds 17, no. 3-4 (2006): 359–69. http://dx.doi.org/10.1002/cav.139.
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Leitner, Birgit Maria. "Minimal Media Art – Minimal Music (Steve Reich)." Kieler Beiträge zur Filmmusikforschung 3 (July 27, 2023): 69–83. http://dx.doi.org/10.59056/kbzf.2009.3.p69-83.
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Der Text befasst sich mit vier minimalistischen Produktionen aus der aktuellen Medienkunst (Themen: Schwarmbewegungen, Tanz, moderne Kunst u. a.). In ihnen korreliert das phase shifting der Musik von Steve Reich von 1967 mit neuartigen Visualisierungsformen und –technologien. Das Zusammenspiel von digitaler Identität und analoger Differenz mit ihren klanglichen und visuellen Polyrhythmiken und patterns führt zu „entropischen Verschiebungen“, die ungewöhnliche „psycho-physische Effekte“ bewirken. Die mit den prozessualen Systemen einhergehende ästhetische Erfahrung wird in eine „Architektonik des Sinns“ der Moderne des 21. Jahrhunderts eingebettet.
The paper deals with four minimalist productions on the field of actual media art (themes: covey movements, dance, modern art etc.). With them the phase shifting of Steve Reich’s music from 1967 correlates with novel visualisations and technologies. The interplay of digital identity and analogue difference with its acoustic and visual polyrhythms and patterns leads to “entropic shiftings”, which cause unusual “psycho-physical effects”. The aesthetical experience of the process-related systems is embedded into an architecture of sense of modernity in the 21st century.
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Busenbarrick, Haley, and Kathleen L. Davenport. "Music to Our Ears: Are Dancers at Risk for High Sound Level Exposure?" Medical Problems of Performing Artists 35, no. 4 (December 1, 2020): 227–32. http://dx.doi.org/10.21091/mppa.2020.4033.
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Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was measured, each collected on a different day, yielding a total of 114 measurements. Results showed that 20.2% of all recordings exceeded the recommended NIOSH sound exposure limits of both 100% projected daily dose and 85 LAeq. Analysis between styles of dance demonstrated significantly lower LAeq (p≤0.05) in soft shoe Irish dance compared to ballet (p=0.023), modern (p=0.035), and Irish hard shoe dance (p=0.009). Irish soft shoe dance demonstrated minimal to no risk of high sound exposure. Conversely, 53.25% of ballet, 90.9% of Irish hard shoe dance, and 68.24% of modern recordings exhibited minimal to moderate risk of high sound exposure. Furthermore, we found wide ranges of projected daily noise doses within classes taught by the same teacher. It is recommended that multiple recordings of dance environments be obtained, as a single sound recording may not accurately represent potential exposure. These findings indicate that dancers of Irish hard shoe, modern, and ballet may benefit from noise intervention such as audiometric testing, noise controls, and hearing protection.
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Nihal, Aneel, Donald J. Rose, and Elly Trepman. "Arthroscopic Treatment of Anterior Ankle Impingement Syndrome in Dancers." Foot & Ankle International 26, no. 11 (November 2005): 908–12. http://dx.doi.org/10.1177/107110070502601102.
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Background: The purpose of this study was to evaluate the results of arthroscopic treatment of anterior bony and soft-tissue impingement of the ankle in elite dancers. Methods: The study is a case series retrospectively reviewed. In the period between 1990 and 1999, 11 elite dancers (12 ankles) had ankle arthroscopy after a diagnosis of anterior ankle impingement that markedly interfered with their dancing. Initial nonoperative treatment failed in all subjects. Previous ankle trauma was noted in all subjects. There were seven women and four men (average age 28 years). Tibiotalar exostoses were radiographically noted in six ankles. Standard anteromedial and anterolateral arthroscopic portals and instrumentation were used for resection of bone spurs and debridement of impinging soft tissues. Patients were nonweightbearing for 5 days after surgery and had postoperative physiotherapy. Results: Nine dancers returned to full dance activity at an average of 7 weeks after surgery. One patient did not return to dance performance because of concurrent unrelated orthopaedic problems, but he resumed work as a dance teacher; he developed a recurrent anterior tibial spur that was successfully resected at a second arthroscopy 9 years later. Another dancer developed postoperative scar-tissue impingement and stiffness; she had a repeat arthroscopy 4 months after the initial procedure and subsequently returned to dance performance. All patients eventually had marked postoperative improvement in pain relief and dance performance. Conclusions: Arthroscopic debridement is an effective method for the treatment of bony and soft-tissue anterior ankle impingement syndrome in dancers and has minimal morbidity.
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Shin, Hyo Young. "The Base on Merleau-ponty’s ‘Body’ Philosophy of Minimal Dance." Dance Research Journal of Dance 79, no. 3 (August 31, 2021): 205–18. http://dx.doi.org/10.21317/ksd.79.3.11.
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Giyartini, Rosarina, Dwi Alia, Muhammad Rijal Wahid Muharram, and Retno Uly Nevyanti. "Implementasi Computational Thinking Unplugged dalam Pembelajaran Seni Tari di Sekolah Indonesia Luar Negeri Davao, Filipina." JPM (Jurnal Pemberdayaan Masyarakat) 7, no. 2 (November 6, 2022): 877–84. http://dx.doi.org/10.21067/jpm.v7i2.6720.
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This service is based on an analysis of situations and problems, that until now dance learning at SILN Davao, Philippines is still using the dance studio education pattern. The orientation is that students memorize certain dance movements with imitates the teacher, without being given space to creatively. This has an impact on the closure of various intelligences possessed by students. SILN Davao, also often appears at state events to present the face of Indonesia to the public, but this is hampered by the lack of variety in dance learning in schools, which makes Indonesia seem to have minimal traditional arts. To hack this, this community service seeks to implement the concept of dance learning by applying unplugged computational thinking. The goal is that dance learning is not just a matter of memorizing motion, but students can creative ideas in the form of dance according to their level of development. To achieve this, methods used are community situation analysis, problem identification, setting goals, problem solving plans, social approaches, implementing activities, and evaluating. The results of this implementation show that the concept of dance learning at SILN Davao, Philippines that applies computational thinking unplugged can be applied to other SILNs.
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Zhao, Haojun, Seong Pek Lim, and Zhuozhuo Xin. "A Study on the Impact of Cheerleading on the Psychological Health of Female College Students." Journal of Contemporary Educational Research 8, no. 3 (March 24, 2024): 43–48. http://dx.doi.org/10.26689/jcer.v8i3.6375.
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This study investigates the effects of technical cheerleading and dance cheerleading on the psychological health of female college students by utilizing the Symptom Checklist-90 (SCL-90), the Comprehensive Diagnostic Scale for Interpersonal Relationships, and the Social Adaptability Diagnostic Scale. The findings indicate the following: (1) Technical cheerleading has a highly significant impact on sensitivity in interpersonal relationships, paranoia, and psychoticism, and a significant effect on anxiety and hostility; dance cheerleading has a highly significant effect on paranoia; (2) Both technical and dance cheerleading have minimal impact on the overall score distribution of interpersonal relationships among female college students, but the dimensions of their effects differ; (3) The impact of technical cheerleading on the social adaptability of female college students is more pronounced than that of dance cheerleading.
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Afrita, Oky Bima Reza. "“Matuya Metta” Creation of Javanese Dance Drama from the Story of Phra Lor." International Journal of Creative and Arts Studies 10, no. 1 (June 20, 2023): 31–42. http://dx.doi.org/10.24821/ijcas.v10i1.7877.
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Matuya Metta is a Javanese dance-drama performance in the Yogyakarta dance style in the form of group choreography. This drama features the story of Phra Lor, famous in Thai literature. Matuya comes from the word “matu”, meaning mother, and “metta” meaning love. So, "Matuya Metta" means a mother's love. The reason for choosing the Phra Lor story is that there are similarities between the Thai a siang nam ritual and the Javanese tradition called tapa kungkum. Matuya Metta dance drama is expressed dramatically and symbolically. It is danced by three dancers and the piece contains in five segments. Javanese dance in the Yogyakarta style is the basis for the movements, namely the characters of alusan and putri luruh. The music is adapted to the atmosphere in the story and the character’s movements according to contemporary Javanese tradition. The performance combines recordings of gamelan instruments with digital music. The makeup and costume designs are inspired by Javanese dance and Thai ornaments. This dance-drama also uses minimal staging properties and settings to beautify the performance and help the audience understand the story. “Matuya Metta” Penciptaan Drama Tari Jawa dari Kisah Phra Lor Abstrak Matuya Metta adalah pertunjukan drama tari Jawa gaya Yogyakarta dalam bentuk koreografi kelompok. Drama ini menampilkan kisah Phra Lor yang terkenal dalam sastra Thailand. Matuya berasal dari kata “matu” yang berarti ibu, dan “metta” yang berarti cinta. Jadi, "Matuya Metta" berarti cinta seorang ibu. Alasan dipilihnya cerita Phra Lor adalah karena ada kesamaan antara ritual siang nam orang Thailand dengan tradisi Jawa yang disebut tapa kungkum. Drama tari Matuya Metta diekspresikan secara dramatis dan simbolis. Tarian ini ditarikan oleh tiga orang penari dan terdiri dari lima segmen. Tari Jawa gaya Yogyakarta menjadi dasar geraknya yaitu tokoh alusan dan putri luruh. Musiknya disesuaikan dengan suasana dalam cerita dan gerak-gerik tokoh sesuai tradisi Jawa kontemporer. Pertunjukan tersebut menggabungkan rekaman instrumen gamelan dengan musik digital. Desain tata rias dan kostumnya terinspirasi dari tarian Jawa dan ornamen Thailand. Drama tari ini juga menggunakan properti dan setting pementasan yang minim untuk mempercantik pertunjukan dan membantu penonton memahami ceritanya.
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Setiawan, Irvan. "TARI DIBINGI: SEBUAH UPAYA PENGGALIAN DATA AWAL TARIAN TRADISIONAL YANG TERANCAM PUNAH DI KABUPATEN PESISIR BARAT, LAMPUNG." Patanjala : Jurnal Penelitian Sejarah dan Budaya 10, no. 2 (September 10, 2018): 219. http://dx.doi.org/10.30959/patanjala.v10i2.374.
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Kekayaan budaya Indonesia yang sangat beragam pada saat ini sedang menghadapi tantangan pelestarian akibat pengaruh budaya modern yang semakin mewabah pada sebagian besar generasi muda. Kesenian tradisional, salah satunya, merupakan unsur budaya yang sebenarnya dapat bertahan dengan cara mengkolaborasikan dengan gerak, tata panggung ataupun suara dari kesenian lainnya yang menjadi senjata cukup ampuh minimal untuk mempertahankan jumlah peminatnya. Lain halnya dengan kesenian tradisional yang masih erat dalam memegang teguh prosedur adat seperti halnya tari dibingi sebagai sebuah tari tradisional yang ada di Kabupaten Pesisir Barat Provinsi Lampung. Ketentuan untuk mengadakan tahapan baik sebelum dan setelah pergelaran, membuat seniman kesulitan untuk mempergelarkan tari dibingi. Penelitian yang menggunakan metode deskriptif kualitatif ini merupakan sebuah penggalian data awal sebagai salah satu upaya memperkenalkan kembali keberadaan tari dibingi di tengah masyarakat khususnya masyarakat di Kabupaten Pesisir Barat.Indonesia's diverse cultural richness is currently facing the challenge of conservation due to the increasingly prevalent modern culture in most of the younger generation. Traditional art is one of them, which is an element of culture that can actually survive by collaborating with movements, stage performance, or the sound of other arts. It becomes a minimal powerful weapon to maintain the number of interested ones. It is different with the traditional arts that are still closely held to the traditional procedures, such as Dibingi Dance as a traditional dance in Pesisir Barat Regency, Lampung Province. The stages of rule to perform Dibingi Dance, both before and after, create difficulties for the artists. This qualitative descriptive research is an initial data extraction that attempts to reintroduce the existence of Dibingi Dance in the community, especially the people in Pesisir Barat Regency.
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Hartog, Marika, Jo Smith, and Andrea Zujko. "Acetabular Labral Tears in the Dancer a Literature Review." Journal of Dance Medicine & Science 10, no. 1-2 (June 2006): 51–56. http://dx.doi.org/10.1177/1089313x06010001-211.
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Acetabular labral tears are recognized as a source of hip pain in the general, athletic and dance populations. The complicated, often end-range movement patterns required of dancers make them especially susceptible to hip injury. Labral tears at the hip can significantly impact the success of a dancer's career. Currently there is little research regarding acetabular labral tears in the dance population. This literature review highlights current knowledge of labral structure and function, the epidemiology and etiology of tears, and conservative and surgical treatment. According to the literature, labral tears are found most often in the anterior quadrant of the labrum. Both traumatic and nontraumatic mechanisms of injury are reported, of either minimal or significant severity. Physical therapy tests have poor specificity to diagnose labral tears. The majority of reviewed studies show positive outcomes post arthroscopy in the general population and in athletes. Further research is necessary to investigate optimum rehabilitation and long-term outcomes of conservative and surgical treatment for the dance population.
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Rosenthal, Miriam, Alyssa M. McPherson, Carrie L. Docherty, and Joanne Klossner. "Perceptions and Utilization of Strength Training and Conditioning in Collegiate Contemporary and Ballet Dancers: A Qualitative Approach." Medical Problems of Performing Artists 36, no. 2 (June 1, 2021): 78–87. http://dx.doi.org/10.21091/mppa.2021.2012.
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AIMS: Research demonstrates that dancers benefit from reduced injury risk and improved health by engaging in strength training and conditioning (STC). Historic bias within the discipline of dance, however, establishes a long-standing stigma that gains in muscle mass and strength lessen a dancer's aesthetic appearance, and thus many dancers rebuff STC as a supplement to dance training. However, there is growing evidence that dancers and dance educators are beginning to understand the importance of additional resistance training and cardiovascular conditioning. This study explored dancers' perceptions and utilization of STC using a general qualitative approach. METHODS: Twenty-three female collegiate dancers (13 contemporary dancers, 10 ballet dancers, mean age 19.95 x 0.97 yrs) volunteered to participate in this study. The principal investigator conducted individual, semi-structured interviews. RESULTS: Inductive analysis revealed three major themes: 1) evolving body image, 2) motivation, and 3) education. Trustworthiness was established using member checks, peer debriefing, and journaling. This study concluded collegiate dancers utilized STC as a means to enhance the individual's body image. This was driven by a continuum of motivating factors. Although collegiate dancers are utilizing STC, education on STC techniques and practices was minimal. CONCLUSIONS: While further research is needed, results from this study suggest STC could be initiated and promoted in the discipline of dance to further enhance physical fitness and general well-being. Dancers and dance instructors should receive education about the importance of STC within dance training as well as how to safely implement STC exercise into training regimens.
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Hsu, Prisca, Emily A. Ready, and Jessica A. Grahn. "The effects of Parkinson’s disease, music training, and dance training on beat perception and production abilities." PLOS ONE 17, no. 3 (March 8, 2022): e0264587. http://dx.doi.org/10.1371/journal.pone.0264587.
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Humans naturally perceive and move to a musical beat, entraining body movements to auditory rhythms through clapping, tapping, and dancing. Yet the accuracy of this seemingly effortless behavior varies widely across individuals. Beat perception and production abilities can be improved by experience, such as music and dance training, and impaired by progressive neurological changes, such as in Parkinson’s disease. In this study, we assessed the effects of music and dance experience on beat processing in young and older adults, as well as individuals with early-stage Parkinson’s disease. We used the Beat Alignment Test (BAT) to assess beat perception and production in a convenience sample of 458 participants (278 healthy young adults, 139 healthy older adults, and 41 people with early-stage Parkinson’s disease), with varying levels of music and dance training. In general, we found that participants with over three years of music training had more accurate beat perception than those with less training (p < .001). Interestingly, Parkinson’s disease patients with music training had beat production abilities comparable to healthy adults while Parkinson’s disease patients with minimal to no music training performed significantly worse. No effects were found in healthy adults for dance training, and too few Parkinson’s disease patients had dance training to reliably assess its effects. The finding that musically trained Parkinson’s disease patients performed similarly to healthy adults during a beat production task, while untrained patients did not, suggests music training may preserve certain rhythmic motor timing abilities in early-stage Parkinson’s disease.
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Hartono, Hartono, and Putri Gisa Harum Rahayu. "Instilling Self-Confidence Character in Siminal Siminul Dance Learning at Merpati Blora Course and Training Institute." Jurnal Seni Tari 12, no. 1 (July 26, 2023): 85–97. http://dx.doi.org/10.15294/jst.v12i1.63137.
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Self-confidence for early childhood is still minimal, especially when it comes to interact with the surrounding environment. The lack of self-confidence indication appears in Siminal Siminul Dance learning at LKP Merpati Blora, which the children feeling shy and afraid to perform in public following by the lack of courage to express their opinions. The purpose of the study was to analyze the Instilling of self-confidence character in Siminal Siminul Dance learning at LKP Merpati Blora. The method used in the research was a qualitative method with a phenomenological approach. Data collection techniques using observation, interviews and documentation. Data validity techniques used triangulation of sources, methods and theories while data analysis uses data reduction, data presentation and conclusion drawing. The results showed success in instilling self-confidence through 4 indicators at LKP Merpati Blora in learning Siminal Siminul Dance, namely, believing in one's own abilities resulted the students experiencing changes from 6 students to 20 students. Independent in making decisions aimed at success with changes from 9 students to 20 students. Positive thinking resulted in changes from 6 students to 20 students and the courage to express opinions from 6 students to 16 students. The results of this study are expected to be literature to add insight for the readers regarding the benefits of dance learning to increase children's self-confidence.
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Tennie, Claudio, and Carel P. van Schaik. "Spontaneous (minimal) ritual in non-human great apes?" Philosophical Transactions of the Royal Society B: Biological Sciences 375, no. 1805 (June 29, 2020): 20190423. http://dx.doi.org/10.1098/rstb.2019.0423.
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The potential for rituals in non-human great apes (apes) is an understudied topic. We derive a minimal definition of ritual and then examine the currently available evidence for it in untrained and non-enculturated apes. First, we examine whether such apes show evidence for the two main components of our minimal definition of ritual: symbolism and copying. Second, we examine if there are actual cases already identifiable today that may fit all aspects of our minimal definition of ritual—or whether there are at least cases that fit some aspects (proto-ritual). We find that apes are not likely to spontaneously practise minimal ritual, but we claim that the highest expected likelihood of occurrence is in the results-copying domain. Yet, we did not find actual cases of minimal ritual in apes—including those involving environmental results. We did, however, find some cases that may match at least part of our minimal ritual definition—which we termed proto-ritual. At least two out of three potential cases of such proto-rituals that we identified (rain dance, object-in-ear and surplus nest-making procedures) do revolve around results. Overall, apes do not show much, or very clear, evidence for even minimal ritual, but may sometimes show proto-ritual. However, dedicated ape ritual studies are currently lacking, and future work may identify ape ritual (or clearer cases of proto-ritual). We discuss the implications of our preliminary finding for inferences of ritual in the last common ancestor of humans and apes. This article is part of the theme issue ‘Ritual renaissance: new insights into the most human of behaviours’.
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M, Rahma, Patta Bundu, and Nurlina Syahrir. "Development of a Choreography-Based Learning Model Focused on Independent Learning." Asian Journal of Education and Social Studies 50, no. 8 (August 5, 2024): 272–77. http://dx.doi.org/10.9734/ajess/2024/v50i81528.
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This study aims to develop a choreography-based learning model focused on independent learning to enhance students' creativity. The learning model is designed to provide students with the freedom to explore their own dance ideas and concepts with minimal intervention from instructors. The research employs a Research and Development (R&D) method with a mixed-methods approach, combining both qualitative and quantitative methods. The model development process involves several stages, including needs analysis, model design, validity testing, model revision, and implementation. The research findings indicate that this learning model is effective in enhancing students' creativity. Creativity measurement is conducted using the Torrance Creativity Test, which reveals a significant increase in creativity scores among students who use this model compared to the control group. Furthermore, feedback from students and instructors suggests that this model can increase student motivation and engagement in the learning process. It is hoped that these findings will contribute positively to the development of learning methods in the field of dance and can be adapted for other disciplines that require creative approaches in their learning processes.
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van Hensbergen, Rosa. "Dance X Fase X Quad: Choreographic Seeing in Lucinda Childs, Anne Teresa de Keersmaeker, and Samuel Beckett." TDR/The Drama Review 63, no. 3 (September 2019): 108–27. http://dx.doi.org/10.1162/dram_a_00859.
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Minimalist lines often show up in philosophical and theoretical writings to diagram accounts of human perspective. But they also show up to do the opposite: to diagram the possibility of structures that precede or exceed a human perspective. By inhabiting scored lines as bodies in performance and simultaneously imagining what it is to score these lines from above, choreography can animate philosophical and theoretical approaches to perspective to reveal how multiple even minimal lines can become.
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Schrefl, Anna, Rolf van de Langenberg, and Andrea Schärli. "Kinematic Analysis of the Coupling Between Calcaneal Eversion and Ankle Dorsiflexion in a Contemporary Dancer’s Demi-Plié." Medical Problems of Performing Artists 36, no. 1 (March 1, 2021): 45–53. http://dx.doi.org/10.21091/mppa.2021.1007.
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BACKGROUND: Dancing requires a high range of motion in the foot as well as a good shock-absorbing system formed by the foot and ankle joints. Although there is a broad consensus in dance that excessive calcaneal eversion can cause injury and should be avoided, calcaneal eversion is discussed controversially in the dance literature. An increased research focus on the biomechanics of dance, particularly research pertaining to the foot and ankle joints, might help to resolve this controversy. OBJECTIVES: The study’s main purpose was to generate hitherto lacking kinematic data of calcaneal eversion in a dancer’s demi-plié. METHODS: Thirty-two contemporary dancers performed three trials in two different conditions: demi-plié in parallel and in turned-out positions. The motion capture system FASTRAK was used to measure calcaneal eversion and foot and lower leg alignment during demi-plié. RESULTS: Maximal calcaneal eversion in turned-out demi-pliés was 3.36°±4° and total range of motion (i.e., maximal minus minimal angle) of calcaneal eversion was 3.73°±1.42°, where the large standard deviations indicate substantial variability across participants. Calcaneal eversion was significantly different between turned-out (3.36°±4°) and parallel (1.17°±4.06°) demi-pliés, as was the alignment of the lower leg and foot, where the lower leg tracked more medially relative to the foot during turned-out pliés. Crucially, both the magnitude of calcaneal eversion and its temporal coupling with ankle dorsiflexion were highly variable across participants. CONCLUSIONS: Average calcaneal eversion is a poor indicator of the role calcaneal eversion plays in the demi-plié of contemporary dancers. Rather, the temporal coupling between calcaneal eversion and ankle dorsiflexion needs to be considered.
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Twitchett, Emily A., Manuela Angioi, Yiannis Koutedakis, and Matthew Wyon. "Do Increases in Selected Fitness Parameters Affect the Aesthetic Aspects of Classical Ballet Performance?" Medical Problems of Performing Artists 26, no. 1 (March 1, 2011): 35–38. http://dx.doi.org/10.21091/mppa.2011.1005.
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Research has indicated that classical ballet dancers tend to have lower fitness levels and increased injury rates compared to other athletes with similar workloads. The aim of the current study was to examine the effects of a specifically tailored fitness training programme on the incidence of injury and the aesthetic quality of performance of classical ballet dancers compared to a control group. Proficiency in performance was evaluated at the beginning and end of the intervention period for both groups through a 4-min dance sequence using previously ratified marking criteria. The intervention group (n = 8) partook in a weekly 1-hr training session that included aerobic interval training, circuit training, and whole body vibration (WBV) All dancers’ performance proficiency scores increased from pre-intervention testing to post-intervention. The intervention group’s overall performance scores demonstrated a significantly greater increase (p = 0.03) than the equivalent for the control group. It was concluded that supplementary fitness training has a positive effect on aspects related to aesthetic dance performance as studied herein; further research is recommended on a larger and more varied sample. Practical applications from this study suggest that supplemental training should be part of a ballet dancer’s regime, and minimal intervention time is required to have observable effects.
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Philipson, Anna, Stefan Särnblad, Lars Ekstav, Mats Eriksson, Ulrika L. Fagerberg, Margareta Möller, Evalotte Mörelius, and Anna Duberg. "An Intervention With Dance and Yoga for Girls With Functional Abdominal Pain Disorders (Just in TIME): Protocol for a Randomized Controlled Trial." JMIR Research Protocols 9, no. 12 (December 15, 2020): e19748. http://dx.doi.org/10.2196/19748.
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Background Functional abdominal pain disorders (FAPDs) affect many children worldwide, predominantly girls, and cause considerable long-term negative consequences for individuals and society. Evidence-based and cost-effective treatments are therefore strongly needed. Physical activity has shown promising effects in the practical management of FAPDs. Dance and yoga are both popular activities that have been shown to provide significant psychological and pain-related benefits with minimal risk. The activities complement each other, in that dance involves dynamic, rhythmic physical activity, while yoga enhances relaxation and focus. Objective This study aims to evaluate the effects of a dance and yoga intervention among girls aged 9 to 13 years with FAPDs. Methods The study is a prospective randomized controlled trial among girls aged 9 to 13 years with functional abdominal pain, irritable bowel syndrome, or both. The target sample size was 150 girls randomized into 2 arms: an intervention arm that receives dance and yoga sessions twice weekly for 8 months and a control arm that receives standard care. Outcomes will be measured at baseline and after 4, 8, 12, and 24 months, and long-term follow-up will be conducted 5 years from baseline. Questionnaires, interviews, and biomarker measures, such as cortisol in saliva and fecal microbiota, will be used. The primary outcome is the proportion of girls in each group with reduced pain, as measured by the faces pain scale-revised in a pain diary, immediately after the intervention. Secondary outcomes are gastrointestinal symptoms, general health, mental health, stress, and physical activity. The study also includes qualitative evaluations and health economic analyses. This study was approved by the Regional Ethical Review Board in Uppsala (No. 2016/082 1-2). Results Data collection began in October 2016. The intervention has been performed in 3 periods from 2016 through 2019. The final 5-year follow-up is anticipated to be completed by fall 2023. Conclusions Cost-effective and easily accessible interventions are warranted to reduce the negative consequences arising from FAPDs in young girls. Physical activity is an effective strategy, but intervention studies are needed to better understand what types of activities facilitate regular participation in this target group. The Just in TIME (Try, Identify, Move, and Enjoy) study will provide insights regarding the effectiveness of dance and yoga and is anticipated to contribute to the challenging work of reducing the burden of FAPDs for young girls. Trial Registration ClinicalTrials.gov (NCT02920268); https://clinicaltrials.gov/ct2/show/NCT02920268 International Registered Report Identifier (IRRID) DERR1-10.2196/19748
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Johnson, Adeerya. "Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South." Religions 12, no. 11 (November 22, 2021): 1030. http://dx.doi.org/10.3390/rel12111030.
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Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens?
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Mulyani, Emi Tri. "Analisis Faktor-Faktor Pendukung Minat Baca Mahasiswa Jurusan Tari di Perpustakaan." LIBRARIA: Jurnal Perpustakaan 6, no. 2 (December 30, 2018): 401. http://dx.doi.org/10.21043/libraria.v6i2.4479.
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<p>The rescarch entitled “Analysis of the supporting factors for reading interest in dance students in the library” contains about reading , reading in ferest factors and analysis of reading in ferest factors in Surakarta dance content students. The results of thes study used qualitative research methods with data obtained from written sources, observation and interviews. The theory used is a theory abaut reading and reading interest becouse it is a frame work for solving problems faced. The factors found in this study were the factors of purpose and benefits of reading, the availability of fasilies and infrastructure, the factor of teacher or lecturer, the availability of reading books, gender and the means of classmates. The results obtained from this study are that reading in terest of prospective dance graduates is very minimal or their lack of attention to reading books, research sources, and space in the library is sufficient and the problem of reading enthusiasts is a little making the library quiet several factors related to students majoring in dance to foster reading interest need to be strengthenet and encouraged so that libraries and reading centers in libraries become reference search destinations.</p><p> </p><p>Penelitian yang berjudul “Analisis Faktor-Faktor Pendukung Minat Baca Mahasiswa Jurusan Tari di Perpustakaan” memuat tentang minat baca, membaca, faktor-faktor minat baca dan analisis faktor-faktor minat baca mahasiswa Jurusan Tari di ISI Surakarta. Hasil penelitian ini menggunakan metode penelitian kualitatif dengan data diperoleh dari sumber tertulis, observasi dan wawancara. Teori yang digunakan adalah teori tentang minat baca dan membaca karena merupakan kerangka dalam memecahkan masalah yang dihadapi. Faktor yang ditemukan dalam penelitian ini adalah faktor tujuan dan manfaat membaca, tersedianya sarana dan prasarana, faktor Guru atau Dosen, tersedianya buku bacaan, jenis kelamin, dan saran-saran teman sekelas. Hasil yang didapat dari penelitian ini adalah bahwa minat baca para calon sarjana tari sangat minim sekali dan kurangnya perhatian mereka pada membaca. Pengelolaan tentang buku bacaan, sumber penelitian, dan ruang di dalam perpustakaan sudah mencukupi dan masalah peminat baca sedikit menjadikan perpustakaan sepi pengunjung. Beberapa faktor yang terkait dengan mahasiswa Jurusan Tari untuk menumbuhkan minat baca perlu dipertebal dan digalakkan agar perpustakaan dan buku bacaan diperpustakaan menjadi destinasi pencari referensi.</p>
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Jang, Mikyung. "Integration of Psyche and Matter and Sandplay Therapy in the Era of Pandemic (Mask, Tal)." Journal of Symbols & Sandplay Therapy 12, no. 2 (December 31, 2021): 43–64. http://dx.doi.org/10.12964/jsst.21008.
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In this paper, the symbolic meaning of the pandemic and the role of the sandplay therapist in integration of psyche and matter were attempted to be understood from an analytical psychology perspective. Traditionally, in Korean culture, when an epidemic spreads, mask dance plays such as Byeolshin Tal Chum Gut Nori, which is a shamanistic mask dance where individuals play, and rituals such as these were offered to appease the gods who brought diseases, hoping the god would leave minimal damage while the people waited for it to pass. In that sense, the expression ‘Byeolshin’ refers to both a god and a contagious disease: smallpox as a pandemic in ancient times. The use of the mask, tal, in these shamanistic mask dance plays and rituals is related to the meaning of the ‘mask’. The word “mask” in Korean means mask, but it is also a word that means diseases, problems, breakdowns, shortcomings, difficulties, etc. Also, the “playing” is an interesting part of the ritual, which means that playing has a healing effect and is a way to appease the archetypal fears and anxieties caused by the divine plague. Just as our traditional culture did, in the era of the corona pandemic (mask, mask), sandplay therapists are in a time and situational position to play a role in making clients realize that matter and psyche/spirit, that is, external things, are internal projections. This is because sandplay therapy is a way of playing and a ritual, and it is a symbolic and healing approach that allows each person to meet their inner ‘god’, that is, their true Self. This process must occur first in the therapist, and only the therapist who has experienced such a process can understand the client's process in terms of the archetypal transference-countertransference relationship. Also, it tries to explain the archetypal fear of the pandemic by linking it with the personal complex, and the symbol of the pandemic that appears in sandplay therapy was presented along with the symbols of the earthquake disaster in Nepal.
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Acuña, Mauricio. "THE BERIMBAU'S SOCIAL GINGA: NOTES TOWARDS A COMPREHENSION OF AGENCY IN CAPOEIRA." Sociologia & Antropologia 6, no. 2 (August 2016): 383–406. http://dx.doi.org/10.1590/2238-38752016v624.
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Abstract Although the berimbau is widely acknowledged today as part of capoeira - in Brazil and around the world - only a 'minimal' history of this instrument exists concerning its evolution over the twentieth century. The sounds, songs and notes of the berimbau, as well as its circulation among capoeiristas, artists, athletes and intellectuals, played an important role in the historical shift from a 'poisonous' capoeira to the 'non-poisonous' styles. The latter were the same styles that became national with enough of a violent edge to maintain the ambivalence between martial art, game and dance, as exemplified and echoed by the capoeira movement between 1930 and 1960. This article approaches the berimbau as an object embodied with a specific kind of agency, useful to the national imagination, to the control of the body and to the promotion of hierarchies among its practitioners.
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Ferro, Simone, and Meredith W. Watts. "Traditionalism and Modernity: Choreography and Gender Portrayal in the Brazilian Popular Dance Bumba-meu-boi." Congress on Research in Dance Conference Proceedings 2012 (2012): 51–62. http://dx.doi.org/10.1017/cor.2012.6.
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Dancers in the Brazilian folk celebration Bumba-meu-boi once performed in simple, repetitive, and predominantly circular movements. This structure promotes multigenerational participation, increases community interaction, and maintains a semi-intact historical legacy. Nevertheless, many groups are currently adopting choreographic steps and patterns familiar from popular entertainment culture and urban Carnival celebrations. This evolution is uneven, with many of the nearly 300 groups that perform in the federal state of Maranhão maintaining the older practices. Nevertheless, for groups embracing modern entertainment values, greater appeal to tourists and general audiences comes at the cost of the traditional form and content of the celebration described by field researchers only two or three decades ago. Gender presentations have been particularly affected, with the increased use of elaborate and skimpy costumes, younger and more athletic performers (mostly young women), and professionalized musical support. These changes are part of the modernization and urbanization of the festival, and they create an ambivalent dialectic in which women appear increasingly as leaders and major performing figures, but also as chorus line bodies with minimal narrative function. Our research includes visual documentation from several years of field research in Sao Luis (Maranhão), Brazil, available online at http://simoneferro.com. Albums of still photography are available at http://meredithwwatts.com.
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Bridgewater, Michael. "Industrial Techno and SID Sound Design in the Commodore 64 Game Slipstream." Journal of Sound and Music in Games 4, no. 1 (January 1, 2023): 9–25. http://dx.doi.org/10.1525/jsmg.2023.4.1.9.
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Slipstream is a rail shooter developed by the group Bauknecht. The soundtrack, composed by Ronny Engmann, accentuates the game’s futuristic space setting and emphasis on speed by invoking the electronic dance music style of industrial techno, which combines the taut grooves of minimal techno with the abrasive sonics of early industrial music to make for an intensification of the sound that made the club scenes of Detroit and Berlin famous. Despite the Commodore 64 being a supposedly obsolete 8-bit platform that had its manufacture stopped decades ago, contemporary composers like Engmann are compelled to use the machine for its SID (Sound Interface Device) chip, which stands apart from the sound chips of other 8-bit home computers and consoles due to its variety of waveform types, filtering capabilities, ring modulation, and oscillator sync effects. The skills that Engmann developed while exploring the affordances of this versatile chip enabled him to compose a video game soundtrack that is informed by his engagement with the Berlin techno scene from the early 1990s onward. Drawing from ethnographic interviews with Engmann and Slipstream’s programmer Stefan Mader, this article demonstrates how techno’s pivotal theme of synergistic existence of humanity with technology resonates with an ecstatic feeling of forward propulsion that characterizes Slipstream. Focusing on the musical dimension of timbre and addressing the practical issues of modern cross-platform development through an analysis of Engmann’s project files for the Commodore 64 music tool GoatTracker, this article shows that Slipstream’s soundtrack is exemplary in effectively harnessing electronic dance music as video game music.
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Said, Abdellaoui. "Marginal Identities and Bodies in North African Trance Dance: A Celebration of Madness." Contemporary Studies in Social Sciences 1, no. 1 (June 2023): 39–47. http://dx.doi.org/10.31559/csss2023.1.1.3.
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The aim of this paper is to explore the relationship between marginal identities, bodies, and the performance of madness in the North African trance dance. It casts light on festive rituals where the illnesses of the soul are manifested through corporeal expressions that variably combine the religious, the spiritual, the socio-cultural, and the psychological aspects. Rather than being stigmatized or pathologized, madness is celebrated to grant a legitimate space and voice to the disadvantaged and marginalized individuals. It is hence posited to produce a counter-discourse that symbolically speaks out against the dictates of formal discourses that control the lives of men and women and shape their identities. By applying a qualitative research method, this study involves observing subjects' corporeal performances in trance from a practice-based perspective. The descriptive analysis of the night of trance (the Lila) takes insights from social semiotics and the concept of the 'meta-sign' to account for the minimal details of madness and the corporeal signs into play. There are stages to follow and intricate bodily moments that would drive the observer of madness to where the order of society comes to a standstill. However, the focus of interest is to assess the readiness of women and men to play other than their normative sociocultural roles in society. The varying dramatic scenes with musical melodies, colors, spirits, litanies, and personifications are overwhelmingly loaded with the passion to celebrate and the desire to transcend time and space. The participants are voluntarily involved in trance as an outlet for their collective endeavor to exteriorize their own mental anxieties and whims. Their sole intention is to defy the prevailing ideologies and the pressures their bodies suffer from. Dancing for them embodies the psychiatric that helps the patients to be dispossessed and hopefully be cured. These observed rites of trance are found to be intentionally performed to relieve individuals from different types of alienation suffered in a 21st century modern world that marginalizes, downgrades, and chains them to the rigidity of disciplinary powers.
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Wang, Jiong, Alexander Wiltse, and Martin S. Zand. "A Complex Dance: Measuring the Multidimensional Worlds of Influenza Virus Evolution and Anti-Influenza Immune Responses." Pathogens 8, no. 4 (November 15, 2019): 238. http://dx.doi.org/10.3390/pathogens8040238.
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The human antibody response to influenza virus infection or vaccination is as complicated as it is essential for protection against flu. The constant antigenic changes of the virus to escape human herd immunity hinder the yearly selection of vaccine strains since it is hard to predict which virus strains will circulate for the coming flu season. A “universal” influenza vaccine that could induce broad cross-influenza subtype protection would help to address this issue. However, the human antibody response is intricate and often obscure, with factors such as antigenic seniority or original antigenic sin (OAS), and back-boosting ensuring that each person mounts a unique immune response to infection or vaccination with any new influenza virus strain. Notably, the effects of existing antibodies on cross-protective immunity after repeated vaccinations are unclear. More research is needed to characterize the mechanisms at play, but traditional assays such as hemagglutinin inhibition (HAI) and microneutralization (MN) are excessively limited in scope and too resource-intensive to effectively meet this challenge. In the past ten years, new multiple dimensional assays (MDAs) have been developed to help overcome these problems by simultaneously measuring antibodies against a large panel of influenza hemagglutinin (HA) proteins with a minimal amount of sample in a high throughput way. MDAs will likely be a powerful tool for accelerating the study of the humoral immune response to influenza vaccination and the development of a universal influenza vaccine.
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Shino, Yamato, Hiroshi Kenta, and I. Komang Mertayasa. "Media Promotional for Art in Tangerang City with Audio Visual Adobe Creative." Aptisi Transactions on Technopreneurship (ATT) 4, no. 2 (July 25, 2022): 192–204. http://dx.doi.org/10.34306/att.v4i2.115.
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Historical buildings contain elements of art in the city of Tangerang, which have good potential to become a tourist destination, but they must be appropriately managed to generate a source of income for the region. The diversity of ethnicities, races, and religions is an important supporting factor in influencing the diversity of artistic values. One of them is the Lenggang Cisadane Dance which is typical art of Tangerang City. And many historical buildings such as the Thousand Doors Mosque, Fortress Museum, Kalipasir Mosque, Al-Adzhom Mosque, etc. Every historical asset needs to be introduced to the public, and this is the authority of the Communication and Information Technology Office (DisKomInfo). However, the information media used is still very minimal. Therefore, a study was conducted using the KPM method, which outputs video using the Adobe Creative Suite. The media needed to maximize promotion and information is the Video Art, Tourism, and Historic Buildings, with an informative and practical display. The beauty of Tangerang City holds history and high artistic value, so it is hoped that this research can increase public interest in studying history and doing tourism.
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Huang, Alexander C. Y. "“What Country, Friends, Is This?”: Touring Shakespeares, Agency, and Efficacy in Theatre Historiography." Theatre Survey 54, no. 1 (January 2013): 51–85. http://dx.doi.org/10.1017/s0040557412000415.
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The curtain rose at the King's Theatre, Edinburgh, on 14 August 2011 to reveal a richly textured production ofThe Tempeston a bare stage with minimal props. As the lights came up, a group of white-robed sailors were caught in a meticulously choreographed storm, dancing to the mesmerizing beats of the master drummer upstage. The performers’ costumes echoed traditional Koreanhanbokattire and their acting style incorporatedt'alch'ummask-dance drama techniques. Their long white sleeves flapped and swayed in sync with their movements. Engulfed in stagewide sapphire and then crimson lighting, their sleeves were transformed from symbols of violent wind and waves to raging fire on board a ship approaching a world where, as Gonzalo aptly summarized, “no man was his own” (5.1.211). With Prospero (King Zilzi) as the drummer upstage and Ariel dancing in the midst of the unfortunate sailors, the storm scene—one of the longest renditions of the “direful spectacle” (1.2.26) in the performance history ofThe Tempest—served as an anchor to the tragicomic narrative about the self and the other. For a fleeting moment, Prospero gave the impression of being a drillmaster at the helm.
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Saint-Germier, Pierre, Cédric Paternotte, and Clément Canonne. "Joint Improvisation, Minimalism and Pluralism about Joint action." Journal of Social Ontology 7, no. 1 (February 1, 2021): 97–118. http://dx.doi.org/10.1515/jso-2020-0068.
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Abstract This paper introduces freely improvised joint actions, a class of joint actions characterized by (i) highly unspecific goals and (ii) the unavailability of shared plans. For example, walking together just for the sake of walking together with no specific destination or path in mind provides an ordinary example of FIJAs, along with examples in the arts, e.g., collective free improvisation in music, improv theater, or contact improvisation in dance. We argue that classic philosophical accounts of joint action such as Bratman’s rule them out because the latter require a capacity for planning that is idle in the case of FIJAs. This argument is structurally similar to arguments for minimalist accounts of joint action (e.g., based on joint actions performed by children before they develop a full-fledged theory of mind), and this invites a parallel minimalist account, which we provide in terms of a specific kind of shared intentions that do not require plan states. We further argue that the resulting minimalist account is different in kind from the sort of minimalism suggested by developmental considerations and conclude in favor of a pluralistic minimalism, according to which there are several ways for an account of joint action to be minimal.
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Tusyana, Eka, and Wina Calista. "The Integration Of Among (Instantiating) System In The Inclusive Education At Taman Muda Ibu Pawiyatan Primary School Yogyakarta." Al-Bidayah: Jurnal Pendidikan Dasar Islam 11, no. 2 (January 11, 2020): 346–57. http://dx.doi.org/10.14421/al-bidayah.v11i2.191.
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The research aim is to describe the integration of among systems in inclusive education at Taman Muda Ibu Pawiyatan Primary School Yogyakarta. This research utilized case study method with a qualitative approach. The data collection instruments were interview, observation, and documentation. The result indicates that among systems in inclusive education at Taman Muda Ibu Pawiyatan Primary School Yogyakarta is integrated into classroom and outing class learning activities. Among system in the classroom learning activity is integrated by teachers to not only provide material but also advise and habituation to students such as maintaining a good attitude to peers. Teachers apply the jigsaw method in learning, which is aimed to train regular students or students with special needs to implement the attitudes of being responsible, cooperative, and respecting other people’s opinions. Teachers do not demand students with special needs to compare their ability with regular children to achieve scores based on Minimum Criteria of Mastery Learning (or usually called Kriterai Ketuntasan Minimal/KKM). They open the opportunity to students, especially they who have special needs at inclusive school to train their independence without continuously depending on guardian. In the among the system of outing class learning, teachers apply three systems, which are karawitan (playing a java musical instrument), dance art, and scout.
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Sadineni, Mr Giribabu, Janardhan Reddy D, B. Uma Pavani, K. Vijaya Lakshmi, Sk Karishma, and P. Tulasi. "Secure Aggregation of Data in Connection-Less Networks." International Journal of Innovative Research in Computer Science and Technology 11, no. 3 (May 2023): 85–89. http://dx.doi.org/10.55524/ijircst.2023.11.3.16.
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Reliable Minimal Energy Cost Routing (RMECR) and Reliable Minimum Energy Routing are two ingenious dynamism- conscious routing algorithms for wireless ad hoc networks (RMER). Ad hoc network conditions for dynamism effectiveness, responsibility, and dragging network continuance are all managed by RMECR. To develop dynamism-effective and reliable pathways that outstretch the network's functional continuance, it takes into account the bumps' dynamism operation, their remaining battery dynamism, and the tractability of their links. RMER, on the other phase, is a dynamism-effective routing algorithm that identifies rows that exercise the least quantum of dynamism altogether for packet traversal from end to end. For networks where end- to- end retransmissions or lope- by- dance retransmissions guarantee responsibility, RMER and RMECR are alluded. Simulation simulations demonstrate that RMECR is able of locating reliable and dynamism-effective rows analogous to RMER, while contemporaneously dragging the network's operating life. RMECR is thus a sophisticated system for dragging the dynamism- effectiveness, responsibility, and life of wireless ad hoc networks. We take into account nanosecond procurators while intending the RMECR, similar as the dynamism exercised by the transceiver's processing factors, the ultimate number of packet retransmissions suffered, packet sizes, and the sequel of mention packets. This increases the oneness of our work in comparison to other examinations.
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Valentsova, Marina, and Ludmila Vinogradova. "Folk Carpathian-Ukrainian demonology: motivational-functional research method." Journal of Ethnology and Culturology 29 (August 2021): 44–52. http://dx.doi.org/10.52603/rec.2021.29.06.
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The traditional way of describing and researching national demonological systems is the character approach. The article attempts to substantiate another possibility of studying Slavic demonology – through the concept of a mythological motive. The motive is understood as a semantic predicate of demonological narratives of various kinds, the minimal meaningful unit of plot composition (including motives-actions, motives-situations, motives-descriptions etc.). The composition of motives in each mythological tradition is unique and can be used to understand the mentality of the people, their way of perception of the world and their attitude to the world. The article describes, with varying degree of detail, some of the motives characteristic of the Carpathian-Ukrainian demonology: motives “to scare a person”, “to lead astray”, telling fairy tales as a protective charm, substitution of babies by demons, motives of double-mindedness, gaining magical power against hail, a circular dance of forest demons and a number of others. Among them, there are world-known, all-Slavic, actually Carpathian-Ukrainian and also Carpathian-Balkan motives. An analysis of these, as well as of other motives, contained in mythological narratives from the collections of V. Hnatiuk, V. Shukhevych, A. Onyschuk and others, allows us to realize the specificity and uniqueness of the Carpathian Ukrainian tradition, and can also provide material for conclusions of an ethnogenetic nature.
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Fowler, Katie E., Anjali A. Mandawala, and Darren K. Griffin. "The role of chromosome segregation and nuclear organisation in human subfertility." Biochemical Society Transactions 47, no. 1 (February 7, 2019): 425–32. http://dx.doi.org/10.1042/bst20180231.
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Abstract Spermatogenesis is central to successful sexual reproduction, producing large numbers of haploid motile male gametes. Throughout this process, a series of equational and reductional chromosome segregation precedes radical repackaging of the haploid genome. Faithful chromosome segregation is thus crucial, as is an ordered spatio-temporal ‘dance’ of packing a large amount of chromatin into a very small space. Ergo, when the process goes wrong, this is associated with an improper chromosome number, nuclear position and/or chromatin damage in the sperm head. Generally, screening for overall DNA damage is relatively commonplace in clinics, but aneuploidy assessment is less so and nuclear organisation studies form the basis of academic research. Several studies have focussed on the role of chromosome segregation, nuclear organisation and analysis of sperm morphometry in human subfertility observing significant alterations in some cases, especially of the sex chromosomes. Importantly, sperm DNA damage has been associated with infertility and both extrinsic (e.g. lifestyle) and intrinsic (e.g. reactive oxygen species levels) factors, and while some DNA-strand breaks are repaired, unexpected breaks can cause differential chromatin packaging and further breakage. A ‘healthy’ sperm nucleus (with the right number of chromosomes, nuclear organisation and minimal DNA damage) is thus an essential part of reproduction. The purpose of this review is to summarise state of the art in the fields of sperm aneuploidy assessment, nuclear organisation and DNA damage studies.
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Baker, Andrea, and Katrina Williams. "Building on #MeToo and #MeNoMore: Devising a framework to examine sexual violence in Australian music journalism." Australian Journalism Review 41, no. 1 (June 1, 2019): 103–16. http://dx.doi.org/10.1386/ajr.41.1.103_1.
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Allegations against film producer Harvey Weinstein, co-owner of US entertainment company Miramax Films, which led to the revitalized #MeToo movement of October 2017, gave global recognition to the sexual violence (sexism, misogyny, sexual harassment, assault and rape) that women experience in the creative industries. As a spin-off, the #MeNoMore campaign in December 2017 resulted in more than 400 women working in the Australian music industry speaking out against similar behavior. Despite having a reputation for sexual violence, the local music press played a minor role in this hashtag development, claiming that its practices are tied to radical, liberal and progressive values. In the post-Weinstein, #MeToo and #MeNoMore era, this contradiction signifies that the Australian music press is fertile ground for a feminist investigation. However, to date minimal local research has examined the link between sexual violence and music journalism. As a literature review to a larger empirical case study, this article draws on a critical discourse analysis from the post-feminist wave of media research into rockism, poptimism, punk, rap, hip hop, dubstep and electronic dance music genres, mainly conducted in the United States and United Kingdom. Derived from this analysis, the article argues that there are four framing techniques associated with music journalism practice in Australia: gendered music press, a masculine attitude towards music reporting, gendered musical tastes and gendered sexual harassment.
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Rahmadini, Vatia Fahrunisa, Alfian Ma'arif, and Nur Syuhadah Abu. "Design of Water Heater Temperature Control System using PID Control." Control Systems and Optimization Letters 1, no. 2 (August 29, 2023): 111–17. http://dx.doi.org/10.59247/csol.v1i2.41.
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This research delves into advanced control methodologies by investigating the intricate applications of Proportional-Integral-Derivative (PID) control for achieving precise and dependable temperature regulation within electric water heaters. The study delves into various control strategies, namely Proportional, Proportional-Integral, and Proportional-Integral-Derivative methodologies, to realize the pinnacle of stable and exacting temperature control. The Proportional Controller, operating with a Kp value of 10, stands out with its relentless performance, characterized by minimal overshoot and an inconsequential steady-state error. Implementing the Proportional-Integral Controller, synergizing Kp at 10 and Ki at 5, elevates system stability while deftly curbing any hint of overshoot. The dynamic interplay between the Kp, Ki, and Kd parameters in the Proportional-Integral-Derivative (PID) Controller unveils an intricate dance of precision and control. Notably, configurations involving Kp 10, Ki 5, and Kd 2 emerge as beacons of rapid stabilization, heightened precision, and masterful overshoot management, exemplified by a rise time of 119.3543 seconds, settling time of 162.6116 seconds, overshoot of 1.0299%, peak time of 216 seconds, and a commendably low steady-state error of 0.31. This extensive exploration bears testament to its instrumental role in optimizing PID control strategies, ushering in augmented efficacy and pinpoint accuracy in water temperature regulation across an expansive spectrum of applications. As a result, these findings pave the way for the evolution of control methodologies that transcend theoretical confines and manifest within practical scenarios with profound impact.
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Wenas, Pearl Loesye. "Identifikasi Potensi Desa Tawaang Timur Sebagai Salah Satu Daya Tarik Wisata di Minahasa Selatan." Jurnal Hospitaliti dan Pariwisata 4, no. 2 (July 31, 2021): 199–210. http://dx.doi.org/10.35729/jhp.v4i2.69.
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The development of the province of North Sulawesi, specifically South Minahasa, especiallyEast Tawaang Village, has a very interesting potential to be developed into a rural touristdestination. However, to develop these destinations, it is necessary to identify what potentialscan become the backbone of the area. Determining the identification of potential in the area willfacilitate the initial steps for strategy preparation and initial mapping as one of the leadingdestinations in South Minahasa.Qualitative descriptive research method is used to determine the potential that exists in thevillage of East Tawaang and is supported by interviews of related people to get valid results. Theresults of this research show that the village of Tawaang Timur has various potentials that can bedeveloped.By formulating a SWOT analysis, it can be found that the strengths of East Tawaang Villageinclude the potential for natural tourism, culture and local arts. Natural tourism such as moinitbeach, songkur beach, mangrove forest, BTO dam has natural tourist attractions. Art tourismwhich is the basis of the Minahasa art, such as the kebesaran dance, lenso, and the culture ofmaking traditional cap tikus needs to be a concern. weakness of East tawaang Village in terms ofinfrastructure and human resources.From the village profile, there are still many people who have very low education, infrastructureto get to tourist attractions is still lacking, roads that are still damaged or not even paved, publictoilets are not available, restaurants or eating places that have not been formed and properlyorganized, service and cleanliness which is very minimal, lodging, souvenir shops that are notyet available must be a priority that need fixing. The involvement of the local government andlocal communities is very lacking in understanding the tourism potential in the village of EastTawaang. There are many opportunities for East Tawaang Village, the potential for nature, artsand culture should be able to be explored deeper and be prepared more thoroughly to become atourist village because this village has potentials that are very rarely found in other villages,traditional arts need to be formed and traditionalized to children - Adolescents and young people,dance studios are made to shape the character of the citizens' arts and culture, and can bedisplayed in front of tourists visiting potential places, training on handicrafts to make souvenirobjects that can be used as a driving force for the tourism economy. The village of TawaangTimur has threats from other villages if they are late or do not think that the tourism sector is amainstay of the village, in addition to the threat of competition, the threat of local cultural threatsthat are degraded due to technological developments can be lostKeywords: Identification, Potential, Tourist Attraction
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Primadona, Wahyu Tero. "Sustainable Tourism: Cultural and Historical Tourism Destination, Bulang District, Batam City." LANGGAM: International Journal of Social Science Education, Art and Culture 2, no. 3 (December 10, 2023): 21–31. http://dx.doi.org/10.24036/langgam.v2i3.56.
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Batam City is one of the main tourist destinations in Indonesia, side by side with Jakarta and Bali. Various tourist destinations are available in Batam City such as shopping tourism, sports tourism, marine tourism, MICE tourism, culinary tourism, religious tourism. As an area that was once the center of civilization in the past, Bulang District is one of the administrative areas of Batam City which still maintains the original cultural identity of Batam City. The various cultures and history have the potential to be developed as a tourist destination. However, currently these various potentials have not been utilized optimally. This study used a qualitative research method with a descriptive approach. Researchers try to get a picture of the actual conditions in the field and explain it in the form of a description. Retrieval of informants using purposive sampling. The data analysis used is Miles and Huberman's interactive model. The results of the study show that Bulang District has the potential to be developed as a cultural and historical tourism destination. There is a lot of cultural and historical heritage, both Tangible Culture and Intangible Culture. The Jogi Dance from the Basri Beach Studio represents the original culture of Batam City. In addition, there are also historical relics such as the Old Forest of Pulau Buluh, Happy Shop, Jami Nurul Iman Mosque, Samudera Bhakti Temple, Temenggung Abdul Jamal Funeral Complex, Temenggung Abdul Jamal's legacy weapons such as Pauh Janggih Washing Feet, Spears, Swords, Keris, Sundang, Talam and Plates. Aspects of supporting tourism, 1) Road accessibility and communication are well available, 2) Additional facilities are minimal, 3) Additional services are limited. So it needs sustainable planning and development so that the existing potential can be utilized optimally. In addition, synergy is needed between the government and various parties.
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Harumová, Anna. "Analysis of Millionaire Tax Influence on Incidence of Taxation by Tax-Free Income in Slovak Republic." Český finanční a účetní časopis 2008, no. 1 (March 1, 2008): 76–85. http://dx.doi.org/10.18267/j.cfuc.259.
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Pintauli, Nurita. "UPAYA MENINGKATKAN MOTIVASI BELAJAR SISWA KELAS X MIA 4 SMA NEGERI 1 PADANG BOLAK PADA MATA PELAJARAN SENI BUDAYA MATERI SENI TARI DI MASA PANDEMI COVID 19 MELALUI METODE DRILL." Gesture: Jurnal Seni Tari 11, no. 2 (June 20, 2022): 114. http://dx.doi.org/10.24114/gest.v11i2.35752.
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Abstract- Students' motivation to learn becomes a part in improving learning outcomes, which is also the aim of this research. Through the Drill method, research is carried out using a Class Action Approach. In its delivery, the zoom application is used as a virtual learning room for teaching and learning activities for class X MIA4 students at SMA Negeri 1 P. Bolak. Based on the research, the results of learning using the Drill method in Class X MIA4 SMAN 1 Padang Bolak can increase learning motivation in the art of dance material is quite good and satisfying. This can be seen from the data in the pre-cycle. The data obtained showed that there were only 12 students (38.71%) who achieved a predetermined minimum score of learning motivation, with an average score of 70.32. In the first cycle, there was an increase in the learning motivation of students of class X MIA 4. There were 26 students (83.87%) of class X MIA 4 who achieved the KKM criteria, with an average score of 80.90. While in the second cycle there were 30 students (96.77%) who reached the KKM, with an average score of 87.27. Keywords: Drill Method, Learning Motivation, Cultural Arts, Covid 19 Abstrak – Motivasi belajar siswa menjadi bagian dalam meningkatkan hasil belajar, yang sejaligus menjadi tujuan alam penelitian ini. Melalui metode Drill penelitian dilakukan denghan menggunakan Pendekatan Tindakan Kelas. Dalam penyampaiannya digunakan aplikasi zoom sebagai ruang belajar virtual pada kegiatan belajar mengajar pada siswa kelas X MIA4 SMA Negeri 1 P. Bolak. Berdasarkan peneletian, didapat hasil pembelajaran dengan menggunakan metode Drill di Kelas X MIA4 SMAN 1 Padang Bolak dapat meningkatkan Motivasi Belajar pada materi Seni Tari cukup baik dan memuaskan. Hal tersebut dapat diketahui dari data pada prasiklus. Data yang didapatkan menunjukan terdapat hanya 12 siswa (38,71%) yang mencapai skor minimal motivasi belajar yang telah ditentukan, dengan skor rata-rata mencapai 70,32. Pada siklus I, terjadi peningkatan pada Motivasi Belajar siswa kelas X MIA 4. Terdapat 26 siswa (83,87%) kelas X MIA 4 yang mencapai criteria KKM, dengan skor rata-rata mencapai 80,90. Sedangkan pada siklus II terdapat 30 siswa (96,77%) yang mencapai KKM, dengan skor rata-rata mencapai 87,27. Kata Kunci: Metode Drill , Motivasi Belajar, Seni Budaya, Covid 19
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Yang, A., WL Hennrikus, Penn State Hershey Pediatric Bone, and PA Hershey. "SURGICAL OUTCOMES OF ACCESSORY NAVICULAR IN ADOLESCENT ATHLETES." Orthopaedic Journal of Sports Medicine 9, no. 7_suppl3 (July 1, 2021): 2325967121S0014. http://dx.doi.org/10.1177/2325967121s00140.
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Introduction: An accessory navicular (AN) is a plantar medial enlargement of the navicular bone of the foot. Patients with AN present with a foot bump. Only some patients are symptomatic with pain. The purpose of this study is to report the surgical outcomes in a consecutive series of adolescent athletes with symptomatic AN. Methods: The study was approved by the College of Medicine IRB. 16 patients were evaluated. Patient gender, age, complaints, family history, sports played, conservative treatments attempted, duration of symptoms, surgical technique, complications, outcomes, average follow up, time to return to normal activity, # that returned to sports, and the time to return to sports were recorded. Radiographs were used to identify the type of AN (Coughlin system), skeletal maturity, and presence of pes planus. Pes planus was determined by standing lateral foot radiograph talo-first metatarsal angle. Results: 16 patients and 17 feet were studied. 15 were female (94%). The average age at surgery was 13 years (range 10 to 18 years). 0 patients had a family history of AN. The presenting complaint was foot pain and a bump. Sports including 2 basketball, 2 cheer, 4 gymnastics, 3 soccer, 1 volleyball, 1 dance, 1 softball, 2 multiple sports. The average duration of symptoms was 22 months (range 1 to 36 months). Conservative care methods attempted included: shoe inserts, activity modification, anti-inflammatory medications, icing, crutches, and changes in footwear. Pre-op radiographs demonstrated 9 Coughlin Type 1, 3 Type 2, and 5 Type 3 AN’s. Pre-op radiographs demonstrated 8 feet (47%) had flat foot. 9 feet (53%) had fused the calcaneal growth plate. All patients had a simple excision of the AN and 13 feet (76%) had an additional reefing of the posterior tibial tendon. The average time to return to normal activities was 13 weeks (range 8 to 16 weeks). 15/16 patients (94%) were able to return to their pre surgery sports. The average follow-up time was 8.5 months. At final follow up, 13 feet (76%) reported no pain, 3 (18%) with minimal pain, and 1 (6%) with no change in pain. No complications were reported. Discussion and Conclusion: Symptomatic AN is more common in females. Surgical success was unrelated to a closed growth plate. Surgery eliminated pain in 76% of patients and allowed 94% of patients to return to sport. Residual pain in 4 patients was correlated with a pre-op flat foot (4/8 patients: 50%).
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Perera, Kanishka, Marco Squassina, and Yang Yang. "A note on the Dancer–Fučík spectra of the fractional p-Laplacian and Laplacian operators." Advances in Nonlinear Analysis 4, no. 1 (February 1, 2015): 13–23. http://dx.doi.org/10.1515/anona-2014-0038.
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AbstractWe study the Dancer–Fučík spectrum of the fractional p-Laplacian operator. We construct an unbounded sequence of decreasing curves in the spectrum using a suitable minimax scheme. For p = 2, we present a very accurate local analysis. We construct the minimal and maximal curves of the spectrum locally near the points where it intersects the main diagonal of the plane. We give a sufficient condition for the region between them to be nonempty and show that it is free of the spectrum in the case of a simple eigenvalue. Finally, we compute the critical groups in various regions separated by these curves. We compute them precisely in certain regions and prove a shifting theorem that gives a finite-dimensional reduction in certain other regions. This allows us to obtain nontrivial solutions of perturbed problems with nonlinearities crossing a curve of the spectrum via a comparison of the critical groups at zero and infinity.
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Liu, Jian. "Stage text of the musical «Next to normal» in Michael Grief’s production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 212–27. http://dx.doi.org/10.34064/khnum1-57.13.
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Theoretical Background. The concept of stage text is actualized in musical science in the context of a variety of samples of director’s theater, in which the stage decision may dissonant or act as a counterpoint to the original musical (ie compositional) text of the work. Sometimes the musical score is only the starting point for the director’s version. T. Grigoryants (2007), M. Kosilkin (2017), M. Kuklinska (2018; 2020) turn to the analysis of the stage text. Among the parameters that M. Kosilkin draws attention to are psychological types (2017: 85), which are embodied through facial expressions and gestures, plasticity and movements, the appearance of the character; and a set of pictorial means – costumes, objects and decorations. Unlike traditional opera, the director of a Broadway musical of the XXI century (especially on modern plots), as a rule, does not face the problem of modernization of stage means or compliance of the stage solution with the expectations and inertia of the audience. However, within this genre it is important to understand what aesthetic tasks are solved by this or that production and what happens in the dynamics of the stage life of the musical, whether the elements of the stage text are written in the score, or, conversely, the director is required to find a solution. Objectives. The aim is to identify the features of the stage text of the musical «Next to normal» – its main components and functions in relation to the musical score. In accordance with the purpose, such methods are used as comparative (to compare the composer’s and stage texts), structural and functional (to identify individual elements of the stage text and their role in revealing the plot and dramaturgy of the whole). Results and Discussion. Unlike directorial experimentalism in the field of opera, where the score may lose “its leading role, giving way to the leadership of a musical performance” (Kuklinskaya, 2020), the Broadway musical «Next to normal» illustrates the unity of the composer and director who seek to be understood by the public. Last but not least, this is due to the fact that some elements of the plot are so cinematic that they seem to be inaccessible for the implementation of purely musical and stage means. Thus, the stage realization of the image of a ghost, various «flashbacks» (№ 5), the delimitation of frames of parallel action (№ 16), the release of Diana’s consciousness during ECT (№ 18) is extremely difficult. However, the director manages to do it with minimal means, without involving special effects. Among the most important tools for creating stage text are: ● two-level stage with different sectors allows to implement fast spacetime switching while maintaining the dynamics of action and embody the idea of parallel action, a combination of real and imaginaryevents; ● the light – directed to the relevant sector of the scene, emphasizes a particular character or pair of characters, focusing the teacher’s attention on a particular plane of action; another approach – even illumination of different sectors of the scene, aimed at; ● concise props (sandwiches, trash can, candle cake, photo, box) – brings to the surface hidden subtexts and reveals the psychological characteristics of the characters hidden in the musical text, ie performs the function of objectification, specification of certain events; ● gestures – turns of the head and body of the characters indicate their «relationship» with the ghost. Since for Diana he is real, so she always turns to him. The other characters behave as if Gabe is not on the stage, and only at turning points do they begin to see him (Dan in № 37); the idea of flashback (Diana’s memories of her marriage to Dan) – is realized through a gesture – a woman reaches out to hug her husband, but catches the emptiness; ● stage action of the characters and mise-en-scène – excessive gestures and strange movements make Diana go crazy; dance and choreographic elements (Dr. Madden, Diana and Gabe), skating on the operating table (Gabe, doctors) highlight the unreal elements of the plot; the main character’s hugs with Gabe illustrate her choice in favor of a ghostly world over the real one (her husband, Dan); ● scenery – demonstratively minimalistic – it consists of key objects – the dining table symbolizes the Goodman family home, the operating room – the hospital, a comfortable chair – psychotherapy sessions; ● costumes – deserve the least attention of the directors, as the household plot focuses on everyday clothes (jeans, sweater, shirt, etc.); against this background, the dance of Gabe and Diana stands out, where they are both in white (№ 4), which gives the action a hidden subtext; white can also be seen as a symbol of madness (Diana’s shirt in the hospital). Conclusions.In terms of musical content, the production deepens the tragedy of Diana’s image, which is that she chooses a ghostly man instead of a real one. And the relationship between her and her dead son in the stage decision goes beyond the roles of «mother – son» – as evidenced by their dance, kissing hands, hugs, which allow us to consider them as a romantic couple of characters, which in the musical text of the opera is only a hint. Thus, the stage text of the musical «Next to normal» is aimed at concretizing the musical content, working with simple symbols that will be understandable to the public, and on the other– to deepen the content and multifaceted disclosure of the ghost world, hallucinations, mental disorders and madness.
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Chatfield, Steven J., Donna H. Krasnow, Amanda Herman, and Glenna Blessing. "A Descriptive Analysis of Kinematic and Electromyographic Relationships of the Core during Forward Stepping in Beginning and Expert Dancers." Journal of Dance Medicine & Science 11, no. 3 (September 2007): 76–84. http://dx.doi.org/10.1177/1089313x0701100303.
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While electromyographic (EMG) and ki-nematic data in dance are accumulating, to date these data have raised more questions than they have answered. The purpose of this study was to introduce ensemble averaging into this body of literature as a way of dealing with the high levels of within-subject and between-subject vari-ability that have been previously reported. This study also introduces analysis during a forward weight shift, an analysis currently absent from the literature. Three collegiate novices (18.7 ± 0.6 years of age) and three expert dancers (27.7 ± 5.5 years of age) were studied in-depth. EMG data were collected continuously at 600 Hz for analysis of onset of activity for abdominal and erector spinae muscles. Kinematic data were collected continuously at 120 Hz from markers on the acromion and the greater trochanter for analysis of the verticality of the trunk. Data were collected continuously for over 4 seconds to include: baseline data prior to movement on a right legged balance, data for movement into plié fondu on the right leg, data for a forward step to the left leg, and baseline data at resolution on a left legged balance. For analysis, data were synchronized by time using onset of vertical ground reaction forces recorded by a force plate under the initial stance leg. All participants were tested on two separate days to assess day-to-day variability. Fifteen trials were collected on each day for each individual. Ensemble averaging of continuously recorded data was used to create line graphs for visual inspection, first to compare day-to-day congruence for each individual, next to assess within group variability, and finally to compare composite graphs between groups. Day-to-day variations for each individual were minimal. Differences were seen between members of the Beginner group but not the Expert group. Between group comparisons revealed the following differences: Experts appeared to use an anterior core support strategy while Beginners appeared to use a posterior core support strategy, Experts dis-played less EMG and kinematic variability than Beginners, and Experts maintained a more vertical posture throughout. Surprisingly, even though Experts were more verti-cal, they demonstrated the same amount of overall anterior-posterior sway as the Beginners. This finding leads to discussion of the dynamic nature of neuromuscular coordination patterns in maintenance of verticality. Issues surrounding the inability of statistically constructed models of human kinematic data to accurately represent individuals in groups are also discussed. Finally, applications of these findings to teaching and learning are offered.
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Garcia, Brian. "Ruedi Imbach, Minima mediaevalia. Saggi di filosofia medievale, Roma, Aracne 2019 (Flumen Sapientiae; 10), 356 S." Deutsches Dante-Jahrbuch 95, no. 1 (September 23, 2020): 185–89. http://dx.doi.org/10.1515/dante-2020-0016.
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Silva, D. Reis, R. Bertonceli, E. Batista, J. Feitosa Bandeira, L. Cutrim Lima, V. V. Guimarães, M. A. R. C. Domingues, and H. M. Malpartida Garay. "Socio-educational interventions as complementary strategies to improvement clinical parameters of Type 2 diabetes mellitus." Revista Brasileira de Ciências do Envelhecimento Humano 16, no. 1 (December 2, 2019): 152–53. http://dx.doi.org/10.5335/rbceh.v16i1.10307.
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Type 2 diabetes mellitus (T2DM) is one of the most prevalent chronic diseases amongthe elderly, which impairs their functionality and the quality of life. Since high levels of socialisolation are observed in the elderly population, we hypothesized that low social support network (SSN) could have negative effects in clinical evolution of T2DM. Therefore, the practiceof socio educational activities could contribute to a favorable disease control and improvement of T2DM clinical parameters.AimsWe evaluated, cross-sectionally and retrospectively, the relationship of SSN size withmetabolic parameters of TD2M and the influence of socio-educational activities (i.e. crafts,jewelry, fitness, literacy, dance, guitar, singing, ballroom dancing, theater, yoga, flamenco,among others) in changes of the glycemic and lipid indexes in elderly patients (> 60 yearsold).MethodsSix clinical parameters, fasting blood glucose (FBG), glycated hemoglobin (HbA1c),circulating triglycerides, HDL, LDL and total cholesterol levels were compared with socialsupport network (SSN) which was measured in 89 T2DM patients by minimal map of relationship in older people (MMRI). The same parameters were compared between the grouppracticing socio educational activities (n = 23) and non-practicing group (n = 33). The changes in values were established between two phases: 2001 to 2009 (before) and 2010 to 2011(after), in both groups. The results were analyzed in two ways: a) vertical comparison ofthe averages of each individual clinical parameter; and b) horizontal comparison of total improvement rate (TIR), resulting from the sum of the individual improvement rate (iIR). Tocalculate iIR, clinical improvement received an arbitrary value (0.25) whereas no clinicalimprovement was ascribed a 0 value.ResultsWe observed a discrete positive correlation between SSN size and glycemic control improvement of elderly T2DM patients. When socio-educational interventions are evaluated, weobserved a significant improvement in HbA1c levels of up 34.5% (odds ratio=4.25; 95% CI,1.17 - 15.45; p = 0.0535) in elderly diabetics practicing socio educational activities. However,the fasting glucose and total cholesterol values had no significant improvement. In the otherhand, the horizontal analysis showed a significant difference between IMT means from elderly diabetics practicing socio educational activities when compared to the control group (p =0.03). It was observed a greater number of cases of clinical improvement over 50% (IMT 0.75and 1.0) in the socializing group (66% vs 36%).ConclusionsOur results suggested an apparent relationship between high SSN and practices of socio educational activities with significantly improvement of glicaemic control elderly T2DMpatients. We speculated that enhancing social support affects direct or indirectly some health-related variables, although potential pathways activated by social and educational components to regulating glucose metabolism remains unclear. However, our data are suggestingthat inclusion of socio-educational elements as non-pharmacological strategies for glicaemiccontrol may contribute for an effective management of T2DM in public health.
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Lavysh, Daria, and Gabriele Neu-Yilik. "UPF1-Mediated RNA Decay—Danse Macabre in a Cloud." Biomolecules 10, no. 7 (July 4, 2020): 999. http://dx.doi.org/10.3390/biom10070999.
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Nonsense-mediated RNA decay (NMD) is the prototype example of a whole family of RNA decay pathways that unfold around a common central effector protein called UPF1. While NMD in yeast appears to be a linear pathway, NMD in higher eukaryotes is a multifaceted phenomenon with high variability with respect to substrate RNAs, degradation efficiency, effector proteins and decay-triggering RNA features. Despite increasing knowledge of the mechanistic details, it seems ever more difficult to define NMD and to clearly distinguish it from a growing list of other UPF1-mediated RNA decay pathways (UMDs). With a focus on mammalian NMD, we here critically examine the prevailing NMD models and the gaps and inconsistencies in these models. By exploring the minimal requirements for NMD and other UMDs, we try to elucidate whether they are separate and definable pathways, or rather variations of the same phenomenon. Finally, we suggest that the operating principle of the UPF1-mediated decay family could be considered similar to that of a computing cloud providing a flexible infrastructure with rapid elasticity and dynamic access according to specific user needs.
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Osthus, Dave. "Fast and accurate influenza forecasting in the United States with Inferno." PLOS Computational Biology 18, no. 1 (January 31, 2022): e1008651. http://dx.doi.org/10.1371/journal.pcbi.1008651.
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Infectious disease forecasting is an emerging field and has the potential to improve public health through anticipatory resource allocation, situational awareness, and mitigation planning. By way of exploring and operationalizing disease forecasting, the U.S. Centers for Disease Control and Prevention (CDC) has hosted FluSight since the 2013/14 flu season, an annual flu forecasting challenge. Since FluSight’s onset, forecasters have developed and improved forecasting models in an effort to provide more timely, reliable, and accurate information about the likely progression of the outbreak. While improving the predictive performance of these forecasting models is often the primary objective, it is also important for a forecasting model to run quickly, facilitating further model development and improvement while providing flexibility when deployed in a real-time setting. In this vein I introduce Inferno, a fast and accurate flu forecasting model inspired by Dante, the top performing model in the 2018/19 FluSight challenge. When pseudoprospectively compared to all models that participated in FluSight 2018/19, Inferno would have placed 2nd in the national and regional challenge as well as the state challenge, behind only Dante. Inferno, however, runs in minutes and is trivially parallelizable, while Dante takes hours to run, representing a significant operational improvement with minimal impact to performance. Forecasting challenges like FluSight should continue to monitor and evaluate how they can be modified and expanded to incentivize the development of forecasting models that benefit public health.