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Tidemann, Axel. "Dancing Robots." Thesis, Norwegian University of Science and Technology, Department of Computer and Information Science, 2006. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-10054.
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<p>This Masters thesis implements a multiple paired models architecture that is used to control a simulated robot. The architecture consists of several modules. Each module holds a paired forward/inverse model. The inverse model takes as input the current and desired state of the system, and outputs motor commands that will achieve the desired state. The forward model takes as input the current state and the motor commands acting on the environment, and outputs the predicted next state. The models are paired, due to the fact that the output of the inverse model is fed into the forward model. A weighting mechanism based on how well the forward model predicts determines how much a module will influence the total motor control. The architecture is a slight tweak of the HAMMER and MOSAIC architectures of Demiris and Wolpert, respectively. The robot is to imitate dance moves that it sees. Three experiments are done; in the first two the robot imitates another robot, whereas in the third experiment the robot imitates a movement pattern gathered from human data. The pattern was obtained using a Pro Reflex tracking system. After training the multiple paired models architecture, the performance and self-organization of the different modules are analyzed. Shortcomings with the architecture are pointed out along with directions for future work. The main results of this thesis is that the architecture does not self-organize as intended; instead the architecture finds its own way to separate the input space into different modules. This is also most likely attributed to a problem with the learning of the responsibility predictor of the modules. This problem must be solved for the architecture to work as designed, and is a good starting point for future work.</p>
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Hofling, Ana Paula. "Dancing Voices." Thesis, University of Hawaii at Manoa, 2003. http://hdl.handle.net/10125/6919.
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This chapter includes both the revised proposal for the concert shared between Melissa Teodoro and myself, Dancing Voices, and the revised proposal for my MFA thesis piece, The smallest unit of meaning. In an earlier version of this proposal, submitted in the Spring 2002 semester, the working title of my MFA thesis piece was Syllables. The change of title reflects the changes in the choreographic process, caused by a delay in the completion of the original score commissioned for the piece. These changes will be discussed in detail in chapter II.<br>vii, 41 leaves
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Teodoro, Melissa. "Dancing Voices." Thesis, University of Hawaii at Manoa, 2003. http://hdl.handle.net/10125/6920.
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This MFA concert will be shared between Ana Paula Hofling and Melissa Teodoro. Our idea is to have a concert that showcases our choreographic work, old and new, in a cohesive concert that is more than a collage of unrelated dances. We have chosen the title "Dancing Voices" because of our interest in working with the spoken word, both in past works and new works. The concert will be divided into two parts, one featuring each of our 15-minute pieces, created to satisfy the MFA degree requirement, and the other will feature reconstructions and restagings of older pieces (some of them revised or edited).<br>v, 56 leaves
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Kramer, Paula. "Dancing materiality." Thesis, Coventry University, 2015. http://curve.coventry.ac.uk/open/items/95453abd-9ad9-4154-bd46-7affd402bba7/1.
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This thesis studies materiality in the context of contemporary outdoor dance practices in the natural environment. The more particular territory of this research is comprised of receptivity-, materiality- and/or exposure-based practices, influenced predominantly by the international lineages of Amerta Movement and postmodern dance. This territory is understood to be a relevant niche domain that is relatively uncharted and particularly informative regarding questions of materiality. The practitioners that this study turns to are mostly located in the UK, but also in Germany. The key influence of Amerta is rooted in Central Java, Indonesia. The main empirical data was collected between 2010-2012 in the UK. This work is a practice-as-research project and consists of a written thesis and a performative afternoon. All questions and arguments have been generated and developed through movement – as well as text-based research practices. The methodology draws on qualitative, ethnographic research methods such as participant observation, fieldnote writing and interviews. It further employs creative research methods such as movement-based writing, research installations and the documented immersion into dance practice and performance making. The main theoretical resonances were found in the field of new materialism and speculative realism. The key arguments of the research were thus developed through creative practice and diffractive reading (Barad), particularly of the work of Jane Bennett, Karen Barad and Graham Harman. The findings of this research suggest that attending to materiality supports dancers in refining a sense of embodied emplacement that furthers movement practice, especially in outdoor contexts. Sensing ones own material body is paramount here. In resonance with new materialist and speculative realist scholarship this research argues that dance making takes place in intermaterial confederations that cross the familiar human- non-human divide. Such confederations allow for a decentralisation of the human positionality that is relevant beyond dance and affects ontological conceptualisations and practices of life at large. The findings of this thesis further suggest a partial integration of concepts that on philosophical grounds preclude each other. For the context of dance practice this research puts forward that Barad’s proposal of entanglement can co-function with and is co-relevant to the autonomy of objects and materials proposed by Harman. The thesis thus argues that materials of all different orders occur in inter-independence (Suryodarmo) rather than only entangled with or withdrawn from each other. Both discrete and independent entities and mutual affordances impact the practice of outdoor dance; reality both exceeds the dance and resonates materially within the human body.
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Young, David Robert. "Circles/dancing /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Nasti, Jacquelyn. "Dancing Plague." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2479.
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Khudaverdian, Clara. "The dancing body." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ39453.pdf.
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Gaidar, Sergii, and Stefan Diez. "Dancing along microtubules." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-182537.
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Salameh, Hadeel J. "Dancing with Birds." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1552037191445985.
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Spilis, Angelica Abby. "Dancing With Arthritis." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/327134.
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Dance<br>M.A.<br>This Master of Arts thesis is based on research that I conducted on dancers who have the auto-immune disease of Rheumatoid Arthritis. Rheumatoid Arthritis is a long-term autoimmune disease that causes inflammation in the joints and the surrounding tissues. Dancers with arthritis feel pain the joints that can be minor or severe, depending on how they are moving their bodies. This research investigates how dancers with an arthritic body can dance without the experiencing pain in their joints. Arthritis impairs movement because it is a disease that affects the joints. In this thesis, I created movements that could enable arthritic dancers the opportunity to continue dancing. I have identified a movement vocabulary, movement methods, and strategies for arthritic dancers who want and need to move with minimal pain. Movements have been created specifically for the arthritic body. I use my own experiences and challenges as an arthritic dancer to inform this study. My experiences helped me to create movements specifically for arthritic dancers because I am an advocate for those who suffer from arthritis.<br>Temple University--Theses
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Hermawan, Rahmanu. "Dancing with Theremins." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-393153.
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This project is building a wireless sensor network for a room-scale Theremin instrument using ZigBee protocol. The Theremin is an instrument that is played entirely without touching it. The instrument based on electromagnetic fields, which are being "disturbed" by the limbs of the player. Theremin has two antennas, vertical antenna for controlling the pitch and horizontal antenna to control the volume. Unfortunately, the playing of Theremin is limited to the area around the antenna. This case, however, also means that it will be necessary to redesign the theremin in some aspects. We will try out a couple of ultrasound sensors, which will be used to detect the movements of the player’s bodies. We also utilised those ultrasound sensors along with microcontroller, FreeRTOS, and ZigBee devices to create a wireless sensor network. In the end, after did some evaluations and concluded that to replace the electromagnetic field, we can use the ultrasound sensors. Besides, ultrasound sensors have a decent accuracy to measure an object distance. Our room-scale Theremin (we call it Thereminz) make music using MIDI by converting the detected distance into MIDI note. We configured Thereminz to create MIDI note-on, note-off, and pitch bend to particular movements.
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Wu, Wei-Chi. "Dancing Within Taiwanese-ness| International Folk Dancing Communities in Taiwan and California." Thesis, University of California, Riverside, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10935353.
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<p>This research investigates Taiwanese dancers? practice of international folk dancing through interviews and participant-observation. International folk dancing is a specific dance genre, in which its practitioners explore various regional folk dances around the world, regardless of their ethnicities. I define this practice as a transnational embodiment, because it not only covers folk dances from different countries, but also was a government-sanctioned exercise during the Taiwanese Martial Law Period (1945-1987). Furthermore, many Taiwanese immigrants in California are still practicing this dance for the purpose of connecting with people with similar backgrounds. In this regard, international folk dancing is a historical product from Taiwan?s Martial Law Period, and it also functions as an instrument to scrutinize some Taiwanese immigrants? conceptions of national and cultural identity in California.
My dissertation starts from post-World War II Taiwan, when international folk dancing was introduced from the United States and became a mass exercise of the Taiwanese people during Martial Law. For the National Government at this time, international folk dancing was a means of presenting Taiwan?s political alignment with the United States. For the Taiwanese people, however, this dance form was a way to understand the outside world under extreme limitations on information access outside Taiwan during Martial Law. My investigation then shifts to Taiwanese immigrants? current practice of international folk dancing in California. Though these immigrants do not limit their practice to Taiwan-specific dances and are embodying cultures of others, international folk dancing is a strong transnational embodiment that enables these Taiwanese immigrants to reconstruct their idea of home in the United States and to present a new definition of Taiwanese identity through practicing others? nationalisms.
Furthermore, I demonstrate that Taiwanese dancers of different generations in both regions are constantly constructing the notions of ?folk? and ?international? through their diverse living and dancing experiences. I argue that international folk dancing challenges these concepts when compared to previous scholars? examinations. Additionally, this dance form demonstrates its practitioners? cultural awareness that even though the practice seems to be inclusive, its dancers are much aware of issues of authenticity, appropriation, and cross-cultural politics. Finally, this sub-genre of self-choreographed dancing indicates a Taiwanized international folk dancing practice. Self-choreographed dancing was developed by the Taiwanese international folk dancing community during the Martial Law Period, and in California, it is practiced more in the Taiwanese international folk dancing groups but is missing in Western dancers? community. As this sub-genre stretches the ideas of ?folk,? ?international,? and the sense of cultural awareness, the dissertation also explores this difference between Taiwanese and Western international folk dancing communities to emphasize the notion of Taiwanese-ness.
International folk dancing serves to scrutinize relationships between Taiwan and the United States after World War II. Meanwhile, California-based Taiwanese immigrants apply their past dancing memories to their current practice of international folk dancing, suggesting new definitions to existing conceptions of Taiwanese identity. Moreover, the unstableness in the dance form?s translations in Mandarin Chinese?tu-feng-wu or shi-jie min-su wu-dao?indicates that there is no consistent understanding of ?folk,? ?international,? and even ?international folk dancing? itself. The lack of coherent translation furthermore signals varied interpretations of Taiwanese-ness by Taiwanese people from different places and of different generations.
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Barry, Jeane. "Dancing in the dark." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Knott, Laura. "Dancing on the horizon." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78963.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1987.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Bibliography: leaves 92-96. "Videography: leaves 97-99.<br>by Laura Knott.<br>M.S.V.S.
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McMonagle, Catherine Ann. "Dancing feminisms and intertextuality." Thesis, Cardiff University, 2006. http://orca.cf.ac.uk/56134/.
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This thesis investigates representations of dancing women in three postmodern novels, arguing that their radical revisions of traditional texts offer readers steps to be taken in the future. Resistant and troublesome dances are deployed here to address feminisms, multiple and contradictory subjectivities and intertextuality. I suggest that a consideration of a nuanced view of multiple subjectivities can benefit women more than striving towards an illusory, autonomous identity. Intertextuality invites contemplation of the dance between different texts and the meanings invoked as a result. Not only are the texts' meanings unstable, but the novels themselves dance with other texts, taking them into account and departing from them by taking different steps their instability of meaning and lack of absolute origins and authority allows them to become sites of resistance to dominant values. My research primarily draws on work by Julia Kristeva, Roland Barthes, Jean-Francois Lyotard and Jacques Derrida. Eilis Ni Dhuibhne's The Dancers Dancing is a postmodern text, which deals with the influence of nationhood on Irish women, and in which Irish subjectivity confronts irreconcilable alternatives. This chapter poses the Irish dance as a space where a new generation can come to terms with their past and reconfigure it. Jeanette Winterson's Sexing the Cherry rewrites the tale of 'The Twelve Dancing Princesses' and in the process challenges patriarchal marriage and heterosexuality as norms. The text 'dances' between traditional and postmodern historical representations of seventeenth-century England, offering readers conflicting versions of history and time. In Margaret Atwood's Lady Oracle, the secret writing of gothic romances alerts readers to the influence of art on life. The novel takes into account, but steps beyond, those narratives that have encouraged readers to believe that they will have their feet cut off if they resist tradition. All three texts offer readers resistance to convention enlisting them in a metaphorical dance, where the steps are not known in advance.
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Vattulainen, Ilpo. "Molecules dancing in membranes." Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-196812.
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In 1828, a botanist named Robert Brown found that small pollen particles suspended in water migrated in an erratic fashion. Later it was realized that the dance Brown observed was essentially a two-dimensional random walk driven by thermal fluctuations, thus this Brownian motion was more intense at higher temperatures. The pioneering ideas and observations by Brown have inspired people for a long time to think about the fascinating aspects of random walks, and hence of diffusion. In this brief contribution, we consider this topic at complex
biological interfaces known as cellular membranes and discuss how the dance of lipids and small molecules can be quantified through experiments and theoretical approaches. Some illustrative examples of diffusion in membrane systems are discussed.
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Vattulainen, Ilpo. "Molecules dancing in membranes." Diffusion fundamentals 2 (2005) 113, S. 1-15, 2005. https://ul.qucosa.de/id/qucosa%3A14452.
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In 1828, a botanist named Robert Brown found that small pollen particles suspended in water migrated in an erratic fashion. Later it was realized that the dance Brown observed was essentially a two-dimensional random walk driven by thermal fluctuations, thus this Brownian motion was more intense at higher temperatures. The pioneering ideas and observations by Brown have inspired people for a long time to think about the fascinating aspects of random walks, and hence of diffusion. In this brief contribution, we consider this topic at complex
biological interfaces known as cellular membranes and discuss how the dance of lipids and small molecules can be quantified through experiments and theoretical approaches. Some illustrative examples of diffusion in membrane systems are discussed.
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Lorenzen-Schmidt, Timo. "On Dancing with Architecture." Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/34078.
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"I would like to - sometime - build a theater which has natural light..." Louis I. Kahn "Space and the Inspirations" 1967
Titled "On Dancing with Architecture" and in reference to Merce Cunningham's choreography, this thesis project is the notion of overlaying architecture as a third autonomous layer to the existing ones in the performance arts that are dancing and music. Since the project is equally concerned with the performers and the audience as well as with the general public, it shall contain a nonstandard performance stage for modern dance as well as general public space.
However, what does it mean to give shape to the notion of "Dancing with Architecture" in actual physicality? In order to investigate an appropriate answer to this problem, the project offers a unique opportunity of applying architecture's power of representation in rich analogies and metaphors. Therefore more than designing just a theater that serves for dance, this space shall be a place that, in its appearance as a whole and in detail, represents the tale of its initial challenge and investigation.
In addition, and as part of being a nonstandard stage for modern dance, the project shall critically review conventions in stage space and offers the opportunity to investigate it under a different scope, for instance through the question of how to increase the spectator's spatial experiences and interactivity with the performers, or through exploiting natural phenomena such as daylight, wind, water, landscape, time and gravity as stimulating factors to introduce new facilities in modern dance.<br>Master of Architecture
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Erla, Adamsdóttir Lilý. "Tension Attention! : Dancing Embroidery." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-12400.
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This Master’s degree project explores the design possibilities of thread tension, to create a transformation in an interactive, 3D embroidered, wooden surface. The aim is to create a playful visual expression on a surface triggered by interaction. The surface is manipulated by embroidery and the embroidery is manipulated by the tension in the thread. Together all parts create a simple mechanism that allows the viewer to sink into a playful loop of a rising and collapsing structure. Dancing embroidery. The work explores the potential of the thread as a key factor together with interaction to make a transformation of a surface possible. The thread is used both in the function of the surface and at the same time it creates a strong visual expression as it stands out to show its strength and power.
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Howell, Les. "Dancing without a fiddle." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
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Holden, Patsy. "Civilized Dancing: The Evolution of Ballroom Dancing from African Trance and Folk Dance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1173.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Philosophy
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Noxolo, Patricia Elaine Patten. "'Dancing a yard, dancing abrard' : race, space and time in British development discourses." Thesis, Nottingham Trent University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302519.
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Green, Alida Maria. "Dancing in borrowed shoes : a history of ballroom dancing in South Africa (1600s-1940s)." Diss., Pretoria : [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-10202009-190259.
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Schulze, Janine. "Dancing bodies dancing Gender : Tanz im 20. Jahrhundert aus der Perspzktive der Gender-Theorie /." Dortmund : Edition Ebersbach, 1999. http://catalogue.bnf.fr/ark:/12148/cb37100296x.
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Thoms, Victoria. "Ghostly present : bodies, dancing, histories." Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420160.
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Nieto, Alvarez Isabel. "Rueda casino dancing for health." Thesis, Saybrook University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1584137.
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<p> The practice of <i>rueda casino</i> (or <i>salsa casino </i>) has increased worldwide in the last four decades, and the physical, psychological, and psychosocial effects of this dance may improve the health and wellness of participants. There is limited literature defining rueda casino as a social dance and previous findings are from interventions with Latin dance practices. This qualitative description focused on the nature of rueda casino integrating perspectives of archival data from interviews with three experts and the researcher's observations on this partnered and group dance in Mexico City. The findings present rueda casino as a form of dance that has a beneficial impact on the participant's body, self-confidence, cross-gender identity, social integration, and social being, and it opens up possibilities for further research to consider rueda casino as part of an integrative approach to wellness. </p><p> La práctica de rueda casino (o salsa casino) ha incrementado a nivel mundial en las últimas cuatro décadas, y los efectos físicos, psicológicos y psicosociales de este baile pueden mejorar la salud y bienestar de los participantes. La literatura que describe rueda casino como un baile social es limitada y resultados previos se limitan a estudios con intervenciones con prácticas de baile Latino. Esta descripción cualitativa se enfoca en la esencia de rueda casino. Integra perspectivas, sobre esta forma de baile en pareja y grupal, obtenidas de información archivada en entrevistas a tres expertos y las observaciones de la investigadora en la Ciudad de México. Los resultados muestran que la forma de baile rueda casino tiene un impacto que beneficia al participante en aspectos físicos, de autoconfianza, de identidad de género, de integración social, y ser social. Adicionalmente, abre posibilidades para futuras investigaciones que consideren rueda casino como parte de un acercamiento integral al bienestar. </p>
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Owen, Craig. "Dancing gender : exploring embodied masculinities." Thesis, University of Bath, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636536.
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Within popular culture we have recently witnessed a proliferation of male dancers. This has been spear-headed by the success of the BBC television program Strictly Come Dancing. The current cultural fascination with dance provides a stark contrast to traditional discourses in England that position dance as a female activity, with men’s participation frequently associated with homophobic stigma. We therefore have a context in which multiple and contradictory discourses on masculinity are available for men to make sense of themselves. This thesis explores how young men negotiate these discourses when learning to dance. The research is based upon an ethnographic study of capoeira and Latin and ballroom dance classes in South West England. The core methods included 1) four years of embodied fieldwork in the form of the researcher learning to dance, 2) writing field-notes and collecting multi-media artefacts, 3) interviewing dancers, and 4) photographing dancers in action. The researcher also drew upon a diverse range of subsidiary methods that included producing a dance wall of collected images and artefacts, cataloguing relevant dance websites and YouTube videos, and extensive use of Facebook for publishing photographs, sharing resources and negotiating ongoing informed consent. The findings of this PhD identify how learning capoeira and Latin and ballroom dance produces embodied, visual and discursive transitions in male dancers’ performances of masculine identities. The analysis focuses on three sets of practices that work to support or problematise the transitions in masculine identities in dance classes. These practices include 1) dancing with women in ballroom dancing, 2) performing awesome moves in capoeira, and 3) men’s experiences of stiff hips. In examining transitions across these three processes the thesis documents the changing possibilities and constraints on embodied masculinities in dance.
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Scott, Catriona Mairi. "The Scottish Highland dancing tradition." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543850.
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The primary objective of this thesis is to inyestigate the development of and changes within the practice of Scottish competitive solo Highland dancing. Although this activity has been inherited through strong oral and military traditions, and is currently practised by over fifty thousand people world-wide. this theoretical and empirical work is the first in-depth study of its kind in the field. The focus of research is the extent to which the impact of regulation on a previously unregulated tradition has contributed to the usurping of creativity by technicality. Five dances have formed the principal competith'e repertoire since the nineteenth century. Their beginnings and early accounts are traced through oral, visual and literary sources, using an historical approach. Two dominant organisational bodies were established around 1950 and letters, minutes and other unpublished material pertaining to the circumstances surrounding their formation are interrogated. Interviews with dancers, teachers, judges and examiners offer insights into the construction of this governance, and the impact of its policing of the dancing community, from practitioners' perspec ti v es. A written ethnography of a contemporary Highland dancing championship reveals procedures at such an event. This is illustrated by a video ethnography. Interviews with contemporary dancers and teachers form a narrative in which attitudes towards the management of a Ii ying tradition are foregrounded. Personal testimonies of competitions yield qualitatiye data tilwhich there are three dominant themes: aesthetic judgements. dancers' musicality, and dancing as sport. Matters of gender and identity also emerge The analysis shows that the content and conduct of competitions has not altered much in the last half century. However, there are significant diffcrenccs between pre-regulated and post-regulated positions, gestures and steps. Extensive comparisons are made between components using Labanotation. Such standardisation is indicative of a climate of control which has led to a continual narrowing of style and an emphasis on technique. The thesis proposes that this pioneering study leads the way for future investigation into the Scottish Highland dancing tradition
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Brengle, Edward Quine IV. "The Evocation of Dancing Stars." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1133313458.
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Malbon, Ben. "Clubbing : dancing, ecstasy and vitality /." London : Routledge, 1999. http://catalogue.bnf.fr/ark:/12148/cb37568722m.
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Kaschl, Elke. "Dance and authenticity in Israel and Palestine : performing the nation /." Leiden : Brill, 2003. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Davidson, Julia Rose. "Listening to the Dancing Body| Understanding the Dancing Body as Performative Agent within the Choreographic Process." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096902.
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<p> The performativity of dance relies on the the power that different dance practices and choreographies have to shape culture, “making and unmaking” identities by “molding” the moving body (Franko, 2012). While theorists have connected dance technique and instruction to the perpetuation of larger cultural and historical ideologies, few methods yet have attempted a critical study of how performative impact is connected to a dancer’s own embodied experience. </p><p> Working from an understanding of embodied experience as central to the performative impact of dance, my research examines the dancing body’s role in constructing its own performativity. I begin with an analysis of how choreography “does” performativity, looking at historical changes in dance theory over time that have led to the imperative to examine agency specifically in relation to individually experienced embodiment. Current scholarship on the status of the 21st century contemporary dancer recognizes this need to study individual embodiment; dancers are creative agents within the choreographic process, able to alter the performative impact of a piece on the basis of how they learn or embody the movement. In order to substantiate this understanding of the dancing body’s agency, my research culminates in an interview project that includes dancers’ voices and lived experiences together with scholarship that prescribes agency and performativity to the moving body. Tracking a group of dancers through the process of learning new choreography, I attempt a method of understanding the moving body itself as communicative agent. The philosophical field of phenomenology supports such an understanding, viewing the body as having its own consciousness and perspective. In addition to phenomenology, I use critical ethnography and oral history practices to construct a reflexive interview process and affect theory to conduct a deep analysis of the dancers’ descriptions. Affect, being defined as those intensities, feelings and forces at the base of personal experience and social patterns, offers a way of comprehending dancers’ felt sense of embodiment from their own perspective. </p><p> An examination of affect within the dancers’ descriptions shows how the dancers’ linguistic moves parallel their diverse kinesthetic experiences of learning movement. The dancers’ heightened kinesthetic awareness throughout the process of learning choreography demonstrates how they experience their bodies in a different phenomenological way and ultimately how they enact performative impact through their very processes of embodiment. The resulting interviews, transcriptions and discussion in this project support practice-based research, in the form of phenomenologically-centered and analyzed interviews, as a way to include dancers’ embodied experiences in studies of the dancing body’s performativity. </p><p> Reference: Franko, Mark. "Dance and the Political: States of Exception." Dance. Ed. André Lepecki. London: Whitechapel Gallery, 2012. 145-48. Print.</p>
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HARRYSSON, MATTIAS, and HJALMAR LAESTANDER. "Solving Sudoku efficiently with Dancing Links." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-157551.
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With this thesis, we hope to motivate software developers to seek out already existing solving algorithms instead of attempting to use a bruteforce algorithm or specialized solving algorithms.The reason for choosing the Sudoku puzzle as a platform to demonstrate this is because it is well known around the world and easy to understand, while the reduction to an exact cover problem provides a challenge. Because of the challenge in the reduction and because we did not find any earlier research which explained in detail how the reduction from a Sudoku puzzle to an exact cover problem is done, we decided to focus on that subject in this thesis. Using our previous knowledge in reduction and the information found during our research, the reduction was eventually solved.Our conclusion is that Dancing Links is an effective solver for the exact cover problem and that a good reduction algorithm can greatly lower the solving time. The benchmarks also indicate that the number of clues in a Sudoku puzzle may not be the deciding factor of its difficulty rating. Since the reduction to an exact cover problem was arguably the hardest part in this thesis, future research can hopefully make use of our detailed explanation of the reduction and use the time saved to explore other topics in more depth, such as the difficulty rating of Sudoku puzzle.<br>Med denna rapport så hoppas vi motivera mjukvaruutvecklare att sökaefter redan existerande lösningsalgoritmer istället för att försöka använda en brute force-algoritm eller en lösningsalgoritm som är specialiserad på ett specifikt område. Anledningen till att vi valde att använda Sudoku som ett verktyg för att demonstrera detta är för att det är känt runt om i världen och lätt att förstå, men också för att det är svårt att utföra en reducering till ett exakt mängdtäckningsproblem. På grund av utmaningen i reduktionen och eftersom vi inte hittade någon tidigare forskning som detaljerat förklarade hur reduktionen från ett Sudokupussel till ett exakt mängdtäckningsproblem går till, bestämde vi oss för att fokusera kring det i denna rapport. Genom att använda vår tidigare kunskap inom reduktion och med den information vi hittade under informationssökningen kunde vi slutligen lösa reduktionen.Vår slutsats är att Dancing Links är en effektiv lösare till det exakta mängdtäckningsproblemet och att en bra implementerad reduktion kraftigt kan sänka lösningstiden. Mätningarna visar också att antalet ledtrådar i ett Sudokupussel inte behöver vara den avgörande faktorn för sin svårighet.Eftersom reduceringen till ett exakt mängdtäckningsproblem var den svåraste delen i vår rapport så hoppas vi att framtida forskninghar användning av vår genomgång av reduceringen och istället kan använda den tiden till att utforska andra ämnen mer djupgående, som exempelvis svårighetsgraden för Sudokupussel.
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Yau, See-wing Catherine. "Intertextuality in Helen Lai's dancing texts." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38675754.
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Hawksley, Sue. "Dancing to an understanding of embodiment." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7918.
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This practice-led research employs choreographic and somatic practices, and their mediation through performance and/or technologies, to facilitate critical engagement and apprehension of notions of embodiment. The core concerns are movement, dance and the body, as sites of knowledge and as modes of inquiry, with particular focus on lived experience approached from a nondualist perspective. Central themes are action, attention, bodyscape, tensegrity, improvisation, interactivity, memory, language and gesture. Taking as a starting point the position that knowledge and mind may be embodied, and that the movement habits and stress markers which pattern bodyscape may in turn inform cognition, the choreographic practice seeks to illuminate, rather than explicate or demonstrate, aspects of embodiment. The methodological approaches are (en)active, heuristic and reflective. Dance, as a exemplar of movement, and choreography, as a mode of creative and critical engagement with dance, are the primary research tools. Somatic approaches to practice, performance and philosophy are investigated for their potential to develop or reveal embodied knowing and awareness. Technological mediation is employed to inform and augment perception and apprehension of the embodied experience of dance, from the perspectives of choreographer, performer and audience. The thesis comprises five dance-based performance works and a written text critically engaging the concepts behind and emergent from this praxis.
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Penny, Patricia A. "Contemporary competitive ballroom dancing : an ethnography." Thesis, University of Surrey, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245223.
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Marek, Terry. "Scenic Design for Dancing at Lughnasa." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/523.
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This thesis examines the process of designing the set for the fall 2006 production of Brian Friel.s Dancing at Lughnasa at the University of New Orleans. This production was chosen for me by the graduate committee in partial completion of my Master of Fine Arts degree in scenic design. I will examine the process I went through from initial introduction to the project, the interpretation, communication and execution of the design as well as the response to this design. The text of this thesis will be accompanied by copies of all research, renderings, draftings as well as all supporting materials relevant to the design process.
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Samuel, Gerard M. "Dancing the Other in South Africa." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22781.
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At the centre of discourse of Dance in South Africa is the notion of Other. The form and approach in Contemporary Dance in South Africa in the 21st century has been shaped by cultural forces such as apartheid and colonialism. This thesis sets out a phenomenological study of Othering in Dance in South Africa through a hermeneutical unpacking of 'Older dancing'. Its critical question grapples with the notion of age as a new marker of alterity in Dance and asks: How does dancing the Other bring new ways of seeing bodies? The lived experiences of four categories in Older dancing: dancers, choreographers, directors and dance critics, in and outside of South Africa since the 2000s, will be analysed. My own position in each of the categories above has allowed me to participate in Contemporary Dance and the performing arts field in South Africa for over 45 years. A partial history of Contemporary Dance in South Africa is explicated in order to provide paradigmatic frames for this study. The philosophical enquiry of this thesis has foregrounded Dance Studies as a discrete research field in order to highlight dance and the body itself, and to reassert an enviable position of dancing bodies as research instruments and knowledge producers. A hermeneutical narrative analysis was deployed following twelve interviews that were conducted over 4 years (2012-2014). Seven South African and five non-South African 'voices' were analysed and coded against four primary lines of enquiry in Experience: notions of cultural inscription and dancing bodies as blank slates; questions of (in)visibility and frailty of older persons, wisdom and (in)dependent older dancers and the ontologies of marginalisation for Older dancing within concert theatre Dance. This suggested a thesis of wider Body-space reading and continuum for Dance that could be useful in understanding epistemology of prejudice. Recommendations that flow from this study will relate to Dance Studies in South Africa that is already moving away from its anthropological roots in tribal dances, experimentations with multicultural dance, towards unpacking intersectionality, public art and the contested label African dance. It provides Body-space as a further theoretical tool with which to observe dancing and bodies as states of becoming that will be of interest to Dance Studies, Performance Theory and Cultural Studies.
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Telban, Borut. "Dancing through time : a Sepik cosmology /." Oxford : Clarendon press, 1998. http://catalogue.bnf.fr/ark:/12148/cb375459074.
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Finnerty, Mora Lee. "Dancing with the baglady a memoir /." Huntington, WV : [Marshall University Libraries], 2002. http://www.marshall.edu/etd/descript.asp?ref=229.
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Duvall, Tracy. "Communicating Romantic Intentions through Social Dancing." University of Arizona, Department of Anthropology, 1996. http://hdl.handle.net/10150/110874.
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This is an analysis of how young Latino men and their female dance partners
communicate their romantic intentions while dancing, or perhaps through dancing. I find that apparent ethnic and class distinctions
and levels of romantic interest affect the way these people dance, especially in three key indices of romantic intentions: eye contact, hand placement, and hip position. Because these intentions are culturally unspeakable in this context, talk is important mostly for its non-referential
effects.
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Marcheselli, Marta. "The Dancers Dancing: un’analisi sulle strategie traduttive." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13715/.
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Lo scopo di questo elaborato è l’analisi linguistica dell’opera The Dancers Dancing della scrittrice irlandese Éilís Ní Dhuibhne e dei riferimenti culturali in essa contenuti, oltre alla presentazione di diverse strategie per la traduzione dell’opera, la quale è stata scritta principalmente in lingua inglese, includendo anche alcune parti in gaelico irlandese. La scrittura del libro è in costante rapporto con la cultura e le antiche tradizioni irlandesi e tali connessioni sono fondamentali per comprendere l’intera storia e capire il background culturale in cui è stato scritto il romanzo: ho per questo dedicato una sezione dell’elaborato all’analisi culturale e linguistica, per poi concentrarmi specificatamente sulla traduzione, il suo significato e i problemi che ne conseguono di fronte a un testo da tradurre di questo genere. Ho inoltre realizzato diverse alternative per la traduzione del testo bilingue, e ho infine elaborato la traduzione di un estratto del capitolo “The fairy reel” del romanzo, in cui emerge l’adozione di alcune delle strategie che sono analizzate in precedenza.
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Shrubsall, Gina M., University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The dancing body makes sense of place." THESIS_CAESS_CAR_Shrubsall_G.xml, 2002. http://handle.uws.edu.au:8081/1959.7/805.
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The grounded theory of this dissertation is that 'the dancing body makes sense of place'. This theory is investigated through hermeneutic praxis based on the theoretical perspective of phenomenology. In exploring how the dancing body experiences place, it is the processes that underlie and give form to dance that capture my attention. 'The dancing body makes sense of place' is a phrase that liberates the description and consideration of the non-verbal processes that underlie the dance/place interface. The phrase offers the possibility of communicating coexisting processes. Interpreted as 'the dancing body makes (sense of place)', the phrase suggests that the development of a 'sense of place' is an outcome of the action of dance. Whilst interpreted as 'the dancing body makes sense of (place)', the phrase implies the understanding of 'place' through dance. The hermeneutic praxis described in this dissertation, is comprised of memory retrieval sessions which allude to how the 'dancing body' experiences space, place and sense of place. During praxis, it emerges that the dancing body infers 'sense of place' through spheres of experience, that may be described as the; 'propriosphere, kinesphere, near-sphere', and 'far-sphere'. Praxis also reveals that the 'dancing body''s' relationship to place in integral in the development of a sense of belonging<br>Master of Arts (Hons)
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Yeh, Yi-Lan Art College of Fine Arts UNSW. "Dancing brush: an exploration of Taoist aesthetics." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42906.
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Dancing Brush video installation is dedicated to legendary Taiwanese dancer Tsai Jui-Yue (1921-2005) in the memory of her suffering, creativity and faith in life. This work reveals the true meaning of Chinese scroll paintings as an infinity of time and space. It draws on the notion of mobility as expounded in the I Ching or Book of Changes. Dancing Brush creates a modern cityscape where the principal of Taoism, ancient Chinese landscape painting, and calligraphy meet new media aesthetics. The focus of this thesis is to reassess media arts practice and aesthetics via the traditions of Chinese Taoist aesthetics. The research was conducted in three dimensions: ??non-linear aesthetics?? in Chinese arts as the new media art form, ??unity of emptiness and fullness?? as the animation principle, and ??subtraction aesthetics?? as the principle of creativity. I propose Dancing Brush video installation as a presentation of ??aesthetics of wandering contemplation??. The work suggests a feature of Chinese moving image aesthetics as a ??spatial montage?? form of media arts. I applied the Taoist ??decreative-creative process?? as the creative method in which the ??decreative?? process leads to the ??creative??. The ??decreative-creative process?? is based on the Taoist teachings of zi-ran (spontaneity) and wu-wei (non-action). I interpret it as ??subtraction aesthetics: less is more??. The process is to eliminate interferences with restricted narrative format and visual effects, then to receive the immediate presentation of things as pure materials. Through the subtracting process, it gains not less but more. Kong Bai (emptiness or formless) in Chinese art is the result of subtraction aesthetics. It reveals the creative principle derived from the Taoist idea of ??usefulness of useless??. The ??subtracting process?? in creating animation is to bring ??unknown?? to life. The ??image beyond image?? is the product of ??unity of emptiness and full?? where Chinese artistic realm yi-jing is created.
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Phillips, Dara L. "Dancing Through Film Musicals : Narratives in Motion /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
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Lawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.
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In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
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Andreou, Marios Simon. "Message traceback systems dancing with the devil." Thesis, University of Newcastle Upon Tyne, 2009. http://hdl.handle.net/10443/2115.
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The research community has produced a great deal of work in recent years in the areas of IP, layer 2 and connection-chain traceback. We collectively designate these as message traceback systems which, invariably aim to locate the origin of network data, in spite of any alterations effected to that data (whether legitimately or fraudulently). This thesis provides a unifying definition of spoofing and a classification based on this which aims to encompass all streams of message traceback research. The feasibility of this classification is established through its application to our literature review of the numerous known message traceback systems. We propose two layer 2 (L2) traceback systems, switch-SPIE and COTraSE, which adopt different approaches to logging based L2 traceback for switched ethernet. Whilst message traceback in spite of spoofing is interesting and perhaps more challenging than at first seems, one might say that it is rather academic. Logging of network data is a controversial and unpopular notion and network administrators don't want the added installation and maintenance costs. However, European Parliament Directive 2006/24/EC requires that providers of publicly available electronic communications networks retain data in a form similar to mobile telephony call records, from April 2009 and for periods of up to 2 years. This thesis identifies the relevance of work in all areas of message traceback to the European data retention legislation. In the final part of this thesis we apply our experiences with L2 traceback, together with our definitions and classification of spoofing to discuss the issues that EU data retention implementations should consider. It is possible to 'do logging right' and even safeguard user privacy. However this can only occur if we fully understand the technical challenges, requiring much further work in all areas of logging based, message traceback systems. We have no choice but to dance with the devil.
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Mylona, Stefania. "Dancing sculptures : contractions of an intercorporeal aesthetic." Thesis, University of Surrey, 2010. http://epubs.surrey.ac.uk/804938/.
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Contraction dances have been seen as 'unnatural' since the contemporary dance focus shifted - especially in Europe - towards release-based dance forms, of continuous rather than 'free' flow, based on somatic and anatomical knowledge. In the modern dance period, however, contraction proved productive in creating radical shifts of form in the case of Martha Graham and Merce Cunningham. In this research, the dancing contraction is redefined to characterize muscular tension and used to visually distort bodily forms. Disciplinary discourses may keep dance contraction separated from contemporary dance, but, I want to suggest that when contraction becomes a method of practice, it can draw together various disciplines and add an aesthetic intensification to choreography. In this way, contraction's bound flow, effort, weight, tension and grotesque dynamics are often considered dance mis-performances. This practice-based research examines the concept of contraction through contemporary dance practice. Based on bodily contractions, Dancing Sculptures proposes an aesthetic link between dance and sculpture by acknowledging corporeality as a meeting point. This interdisciplinary approach emerged through an emphasis on exploring visual methodologies in dance. The main body of the thesis contains four chapters: The first chapter addresses the modern histories of contraction in dance. Chapter two focuses on the contractile processes of Dancing Sculptures as a new hybrid genre which favors intercorporeality by emphasizing the importance of the visual in dance. The relationship between dance and visual art references is examined in chapter three. Moving beyond practice, the fourth chapter offers an evaluation of interdisciplinary approaches as primarily body-based and argues for intercorporeality within and beyond dance studies through Deleuzian theory. In Deleuzian theory, the assemblage (spatial contraction) also creates deconstruction, and vice versa, and thus, they can happen simultaneously, meaning that they are contracted. Historicizing these concepts in terms of aesthetics allowed me to make clear that my proposition does not imply the negation of deconstruction but rather suggests that contraction deconstructs deconstruction. Contraction becomes more prominent, as in Deleuzian theory, after a long focus on deconstructionist processes and particularly, for tracing an analogy between disciplines and bodies. I will thus propose that the aesthetic of contraction may be of increasing significance within an intercorporeal, post-deconstruction dance practice.
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Anderson, Lucinda. "Dancing in the dark : an adolescent novel." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/539861.
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The purpose of this project was to demonstrate usage of the criteria important in writing an adolescent novel. My main effort with this project was to write something that was both educational and entertaining.To prepare this novel, I discussed my subject with people in the fields of medicine and psychiatry. I also used several books and articles relating to the experience of adolescent depression.By the time I completed the work, I felt that I had designed something that displayed my knowledge of adolescent literature, and something that was very entertaining as well as education. The manuscript was sent to Farrar, Straus, and Giroux in April, 1988.In preparation for submitting the work, I followed standard guidelines for manuscripts as outlined in Writer’s Market and as recommended by workshop advisors.My conclusions from this project are that I feel very satisfied that Dancing In The Dark is an encouraging, interesting piece of contemporary literature for adolescents.<br>Department of English
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Perazzo, Domm Daniela. "Dancing poetry : Jonathan Burrows's reconfiguration of choreography." Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/609/.
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The starting point for this interpretive study of Jonathan Burrows's (b 1960) choreography is the limited and fragmentary existing literature on his work. Critical essays and performance reviews hint, tentatively, at the idiosyncratic, eccentric and enigmatic qualities of the movement language of this British contemporary choreographer. In this thesis I interrogate the distinctiveness of his performances, arguing that they challenge conventions of co-existing dance genres and techniques, by employing a variety of disciplinary, cultural and theoretical contexts. These frameworks both surround and construct the work, just as they do my interpretations of it: British experimental dance, American early postmodern choreography, recent European performance, ballet and English folk dance; postmodernist and modernist stances. Critical and literary theory provides the methodological framework for the research, which draws on intertextual and hermeneutical perspectives to construct interpretations that take into account the discursive and multilayered nature of the work. Detailed analyses of six pieces created between 1988 and 2006 (Hymns, Stoics, The Stop Quartet, Both Sitting Duet, The Quiet Dance and Speaking Dance) address structural, thematic and conceptual aspects that I have identified as central to Burrows's dance: the composite character of his movement vocabulary, the cultural specificity of his art, his contentious relationship with minimalism and abstraction, his collaborations across arts, and the presence of underlying compositional strategies and intimate motives throughout his work. In moving towards a poetic reading of Burrows's dance, I argue that the specific type of language constructed in his pieces and the distinctive modes of signification they embody, between form and content, rule and transgression, non-referentiality and empathic recognition, suggest an interpretation of his choreography as a form of both poetic language and poetics, that is, as both creative and theoretical practice.