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Готові списки джерел за темами / Performance art

Добірка наукової літератури з теми "Performance art"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 11 березня 2023

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Статті в журналах з теми "Performance art":

1

Botirova, Khilola Tursunbaevna. "Performance And Art." American Journal of Social Science and Education Innovations 03, no. 05 (May 31, 2021): 465–74. http://dx.doi.org/10.37547/tajssei/volume03issue05-83.

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This article provides detailed information about the performing arts, including scientific and theoretical information about the commonality of performance and art. The scholars’ scientific approaches to music are described in detail.

2

Heyd, Thomas. "UNDERSTANDING PERFORMANCE ART: ART BEYOND ART." British Journal of Aesthetics 31, no. 1 (1991): 68–73. http://dx.doi.org/10.1093/bjaesthetics/31.1.68.

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3

Reid, Robert L. "Performance Art." Civil Engineering Magazine Archive 82, no. 1 (January 2012): 46–55. http://dx.doi.org/10.1061/ciegag.0000384.

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4

Gavin, Gaynell. "Performance Art." Prairie Schooner 80, no. 1 (2006): 74–76. http://dx.doi.org/10.1353/psg.2006.0069.

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5

Wilson, Martha. "Performance Art." Art Journal 56, no. 4 (December 1997): 2–3. http://dx.doi.org/10.1080/00043249.1997.10791841.

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6

Moon, Bruce L. "Art Therapy Teaching as Performance Art." Art Therapy 29, no. 4 (December 2012): 192–95. http://dx.doi.org/10.1080/07421656.2012.730954.

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7

Sherwood, Yvonne. "Prophetic performance art." Bible and Critical Theory 2, no. 1 (February 2006): 1.1–1.4. http://dx.doi.org/10.2104/bc060001.

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8

Berkus, Gunther. "Performance Art Now." Circa, no. 24 (1985): 14. http://dx.doi.org/10.2307/25556996.

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9

Carson, John. "Performance Art Tips." Circa, no. 111 (2005): 49. http://dx.doi.org/10.2307/25564270.

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10

Dirmoser, Gerhard, and Boris Nieslony. "Performance Art Kontext." Performance Research 6, no. 2 (January 2001): 109. http://dx.doi.org/10.1080/13528165.2001.10871793.

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Дисертації з теми "Performance art":

1

Macdonald, Megan. "Performance art, liturgy and the performance of belief." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/2426.

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The history of art and religion is intricately linked in Western culture. This thesis focuses on one strand of this relationship and is concerned with the role of performance practices in relation to spirituality in the West. Contemporary performance practice and theory are at the centre of this research. Case studies on the Roman Catholic Liturgy and the performance artist Marina Abramovi! are used to show how traditional analyses of spiritual performance have not accounted for the effects and affects of metaphysics in how we understand belief. I argue that examinations of spiritual performance are needed which do not try to understand such performances in terms of their representative meaning, but rather, seek to account for their performative qualities as practices that both instantiate and manifest belief. Performative theory has been used extensively to analyse language and human action, specifically the performance of gender. Here belief is taken as the subject of performative action and rituals are examined as performance practices which perform belief. Starting with Jacques Derrida, I begin a discussion of metaphysics and representation, tracing the nature of Western understandings of belief from Plato, to Friedrich Nietzsche, to Derrida, and to contemporary theological investigations into the nature of the human soul. This establishes the metaphysical history of the treatment of belief as well as various theoretical attempts to move past this model. The work of J.L. Austin, John R. Searle, Judith Butler and Saba Mahmood is employed to examine belief through speech act theory as a verb and finally through performative theory as an action. The first half of the thesis contextualises Western belief as a culturally specific entity that has not been analysed or understood in relation to its physical and material aspects, as well as developing an analysis of performative action. The second half applies the performative approach to the case studies.

2

Babot, Philip. "Elements of shamanism within performance art." Thesis, Cardiff Metropolitan University, 2011. http://hdl.handle.net/10369/6528.

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3

Sandström, Edvin. "Performance Art : A Mode of Communication." Thesis, Stockholm University, Department of Sociology, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42382.

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This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how andwhy do artists use performance art. The empirical result shows that artists use performanceart to challenge what art is. The study explains how artists use performance art as a modeof communication, a communication based on using the voice in different modes. Throughusing an electronic filtered voice, the artists capture the audience's attention and at the sametime they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study findsthat the artists generate an existential and political awareness for their audience.Keywords:

4

Smith, Alison. "Raising environmental awareness through performance art." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession86-10MES/Smith_A%20MESThesis%202007.pdf.

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5

Prokůpek, Marek. "Performance Measurement of Public Art Museums." Doctoral thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-264709.

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The issue of the economics of cultural institutions, their economic impact, and measurement of their performance has been paid systematic attention basically only in the past few years. PhD thesis analyses the methods of performance measurement in public art museums and creates economic models. Aim of my thesis is also to create a model for museum managers to measure the performance. Nowadays it is almost necessary to integrate performance measurement system in organization´s strategy decision making. The museum managers feel the pressure to prove that their organization is performing well by various stakeholders and we perceive the idea that multidimensional performance measures could fill the informational gap concerning performance, quality, and the artistic value of cultural programs. The mixed research method was employed in this research. Qualitative data was obtained from the questionnaire and interviews. Quantitative data was obtained from the questionnaire, annual reports and reports of The National Information and Consulting Centre for Culture (NIPOS). The aim of this study is to propose a comprehensive multidimensional model to assess art museum activities. This model takes into account the scope and character of museum´s mission. This model consists of implementation of Data Envelopment Analysis into Balanced Scorecard.

6

Roland, Barbara. "Performances et représentations: approche pratique et théorique des stratégies du performeur." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209140.

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La thèse consiste en une approche pratique et théorique des stratégies du performeur sur fond des questions problématiques relatives à la performance et à la représentation. Elle s’intéresse plus spécifiquement aux manifestations et aux traductions des trois processus créatifs performance, mimêsis, représentation dans la pratique de la performance comme genre.

L’articulation d’axes de recherche paradigmatiques (des Performance Studies) à l’étude du genre repose sur un dialogue constant entre pratiques et théories qui permet de mieux cerner et comprendre le phénomène. La performance est à la fois un genre et un paradigme dont l’étude montre le passage d’une logique représentationnelle à une logique « performationnelle ».

La performance ne s’envisage pas directement comme représentation, mais comme restauration de comportement, comme processus, et comme événement dont trois aspects — la boucle de rétroaction autopoétique, la déstabilisation des oppositions binaires, les situations de liminalité — confirment sa nature en tant que telle. Elle ne dépend plus de la mimêsis en fonction de laquelle se constituait la représentation aristotélicienne, bipolaire. Elle renverse le processus de production de l’art, et s’impose de manière autonome et à part entière par rapport à la représentation et à la mimêsis qu’elle n’implique, ni n’exclut nécessairement.

Le genre de la performance tend à mettre en échec la mimêsis, mais ne dénie pas pour autant toute possibilité de représentation, qui s’ouvre à d’autres dimensions.

L’art de la performance est un art du moi, un art de la subjectivation qui questionne l’identification propre à la représentation de la fiction, par dés-identification, désappropriation, déclassification. Il n’assure pas moins la représentation identitaire, sociale, politique du sujet en action.

La performance traduit la représentation dont elle questionne, et élargit peut-être, le sens et les fonctions dans le champ des arts vivants. Elle se pose comme moyen de réflexion et d’évolution objective des conceptions, des logiques et des principes qui définissent le champ de ces déterminations.

Doctorat en Information et communication
info:eu-repo/semantics/nonPublished

7

McCusker, Nicole Catherine. "Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7656.

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My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a life drawing class with burlesque performance, creating an event that focuses on both the performance and the creation of art by the attendees. Dr Sketchy's was begun in New York in 2005 by its creator Molly Crabapple, now an internationally recognized artist and popular alternative celebrity. I focus my study on the Christchurch branch of Dr Sketchy's Anti-Art School, founded in June 2010 by Audrey Baldwin, a performance artist and Fine Arts graduate of the University of Canterbury. In my thesis I discuss the way Dr Sketchy's Anti-Art School combines and compromises between the life drawing format and the burlesque performance, despite the differences and seeming incompatibilities between these two forms. I investigate Dr Sketchy's as a contemporary cultural performance which combines and to some degree inverts established genres of performance. I give a detailed history of burlesque performance and of life drawing within art education to allow a comprehensive comparison of the two traditions, particularly the way each has conceptualized the nude female body. I argue that the combination of the two forms allows Dr Sketchy's Anti-Art School to transgress the traditional boundaries of each format and introduce influences that would otherwise endanger the status of life drawing and burlesque performance within their respective contexts. I also argue that the nude within Dr Sketchy's Anti-Art School transgresses the traditional conception of the nude within life drawing by using burlesque as an acceptable reference for the transgressive elements of the show. The arguments put forward in this thesis are the product of extensive participant observation, interviews and literature reviews on the relevant art and performance traditions.

8

O'Connell, Micheál. "Art as 'artificial stupidity'." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/67604/.

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Through treatment of selected interventions and artworks, the thesis investigates relationships between cybernetics, conceptions of intelligence and artistic practice. The works in question are primarily the artist's own, documented in the thesis and a separate portfolio. Specifically, intelligence's downside, the controversial notion of stupidity, has been reappropriated as a means of considering the way artists intervene and how art, as a system, functions. The term ‘artificial stupidity' was invented in reaction to a particular construal of what Artificial Intelligence (AI) meant. The notion has been employed since, and the thesis discusses interpretations and uses of it. One meaning relates to an ability to become, or make oneself, ‘stupid' in order to facilitate discovery. In the conclusions, the arguments are extended to ‘art as a social system' (Niklas Luhmann), suggesting that it survives and reproduces through a wily kind of pretend idiocy combined with occasional acts of generosity to other systems. The research methodology is threefold. Firstly, unapologetically playful approaches, characteristic of the artistic process, were utilised to generate ideas. Thus, art becomes primary research; an equivalent to experimentation. Secondly conventional secondary research; the study of texts; was conducted alongside artistic production. Thirdly the works themselves are treated as raw materials to be discussed and written about as a means of developing arguments. Work was selected on the basis of the weight it carries within the author's practice (in terms of time, effort and resources devoted) and because of its relevance to the thesis themes i.e. contemporary and post-conceptual art, the science of feedback loops and critiquing intelligence and AI. The second chapter divides interventions and outputs into three categories. Firstly, the short looping films termed ‘simupoems', which have been a consistent feature of the practice, are given attention. Then live art, in which a professional clown was often employed, is considered. Lastly a series of interactions with the everyday technological landscape is discussed. One implication, in mapping out this trajectory, is that the clown's skills have been appropriated. ‘Artificial stupidity' permits parking contravention images to be mistaken for art photography, for beauty to be found in courier company point-of-delivery signatures and for the use of supermarket self-checkout machines, but to buy nothing. The nature of the writing in chapter 2 and appendix A (which was a precursor for the approach) is discursive. Works are reviewed and speculations made about the relationship with key themes. The activities of artists like Glenn Lygon, Sophie Calle, Samuel Beckett are drawn upon as well as contemporary groupings Common Culture (David Campbell and Mark Durden) and Hunt and Darton (Jenny Hunt and Holly Darton). Chapter 3 includes a more structured breakdown and taxonomy of methods. Art theories of relevance including the ideas of Niklas Luhmann already mentioned, John Roberts, Avital Ronell, Mikhail Bakhtin, Andrew Pickering and Claire Bishop are called upon throughout the thesis. Interrogation of the work raises certain ethical or political questions. If there are good reasons for the unacceptability of ‘stupid' when applied to other human beings, might it be reasonable to be disparaging about the apparent intellectual capacities of technologies, processes and systems? The period of PhD research provided an opportunity for the relationship between the artist's activities and the techo-industrial landscape to be articulated. The body of work and thesis constitutes a contribution to knowledge on two key fronts. Firstly, the art works themselves, though precedents exist, are original and have been endorsed as such by a wider community. Secondly the link between systems and engineering concepts, and performance-oriented artistic practice is an unusual one, and, as a result, it has been possible to draw conclusions which are pertinent to technological spheres, computational capitalism and systems thinking, as well as art.

9

Drinkall, Jacquelene Ashley School of Art History &amp Theory UNSW. "Telepathy in contemporary, conceptual and performance art." Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/31097.

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This thesis investigates the impact of telepathy and psi on conceptual and performance art from 1968. Emerging from the author???s art practice, the thesis argues telepathy is a key leitmotif and creative concern within much post 60s art, and has become central to the practice of a number of contemporary video, performance and new media artists. This thesis is composed of two interrelated parts: an exhibition of the artwork by the author concerning telepathic processes, and a written project which uses the major themes of the exhibition to frame an historical study of a number of key contemporary artists whom, it is argued, work with telepathy. These artists, Jane and Louise Wilson, Suzanne Treister and Susan Hiller are discussed under the themes of ???twinning and doubling,??? ???technological mediums??? and ???telepathy experiments???. These themes also overlap in the authors artwork, are introduced through an overarching analysis of the work of performance artist Marina Abramovi?? and philosopher Jacques Derrida who, it is argued, provide a new model of telepathy as an art practice. In addition, the thesis argues that telepathy is an often suppressed thematic in art which may not appear to directly address it, and uses the work on the Wilsons, Treister and Hiller to re-look at other 20th Century artists and artistic themes in the light of the conclusions it draws on telepathy and art. Walter Benjamin greatly admired the Surrealists, but had virtually no time for their interest in telepathy, hypnosis and psi. Together with positive materialist misappropriations of Adorno???s Thesis Against Occultism, artistic and theoretical work with telepathy and psi has been sidelined from other important themes in art and critical theory, all of which telepathy and psi illuminate, energise and empower. The art of the author and other more recognised and established artists can be seen to work with telepathy in ways that flow into and reinforce the grain of progressive leftist practice and aesthetics. Women???s work with telepathy should be considered as important as women???s work with sexuality. Women, sexuality, Otherness, liminality, spirituality, telepathy, trauma, healing, radical politics, and other taboo areas of patriachal codes, were adandoned by macho participants of fluxus and Conceptual art. The recent conceptual and performance tilt in contemporary art sheds new light on the problem of working within and developing an effective and dynamic lineage of telepathy in post 60s art as well as early modern art movements. Contemporary developments in science, engineering, biology, psychoanalysis, warfare, popular culture and sociology show the wider relevance of discourse on telepathy. There is much at stake for visual art, aesthetics and visuality in representing, celebrating and interrogating the theme of psi and telepathy in current practice and art history. Artists??? work with telepathy and psi, although not always explicitly psychological, political or aesthetic, is often very psychologically, politically and aesthetically effective.

10

Dunlop, Jane. "How we are together : generosity and dissonance in internet-situated performance art." Thesis, University of Brighton, 2018. https://research.brighton.ac.uk/en/studentTheses/bb2cdacb-9479-4c61-b48f-5ccb954e8659.

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How we are together: generosity and dissonance in internet-situated performance art is a practice as research PhD that focuses on how artistic practices engage with the increasing ubiquity of internet communication. Specifically, it addresses how performance art practices respond to the ways internet-enabled technologies augment and extend the interactions between individuals. How we are together investigates what “together” means as internet communication technologies become ubiquitous, and how social relations interweave the on and offline sites of contemporary culture. Through a series of artworks devised alongside written analyses, the project demonstrates the ways in which “internet-situated” performance and performative artworks highlight the increasing digital mediation of contemporary practices of relation. These practices, and the relationships instantiated through them, are the basis of an investigation into the entangled politics of the emotional and technological. How we are together defines a set of contemporary “internet-situated” performance art practices, creating a subset of internet art that is specifically using and referring to the social processes of digital communications. The innovative nature of this thesis emerges from its approach to the interconnected emotional and technological politics of internet communications through its theorising of the concepts “generosity” and “dissonance”. Expanding upon Rosalyn Diprose’s Corporeal Generosity (2004), this project demonstrates how generosity operates as a tool in artistic practice that emphasises relation and enacts a specific openness and care through the terms of reciprocity in exchange. Dissonance, defined by building on theories of friction, failure and disruption in both technology and performance, provides a new critical intervention into the imbrication of emotion with digital technologies in contemporary culture. The conceptual and practical interventions of dissonance and generosity are demonstrated across the written analyses and artistic practice, which developed in parallel over the period of research. The project asks: In what specific ways is the practice of art shaped and forged by the new contingencies of relations that emerge within internet-situated contexts? In answering this question, I combine performance studies and feminist cultural theories with practice as research; this produces a new and innovative engagement with both digital philosophies and performance practices. This practice as research approach draws on feminist epistemologies to emphasise situated knowledges and emotion. In this way, the thesis bridges the theoretical gap between theories that address the politics of emotion and those that focus on the impacts of digital technologies.

Більше джерел

Книги з теми "Performance art":

1

Davies, David, ed. Art as Performance. Oxford, UK: Blackwell Publishing Ltd, 2004. http://dx.doi.org/10.1002/9780470774922.

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2

Davies, David. Art as performance. Malden, MA: Blackwell Pub., 2004.

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3

Adrian, Heathfield, and Glendinning Hugo, eds. Live: Art and performance. London: Tate Pub., 2004.

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4

Rubin, Leon. Performance in Bali. London: Routledge, 2007.

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5

Macrì, Teresa. Slittamenti della performance. Milano: Postmedia books, 2020.

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6

Granato, Ivald. Ivald Granato art performance. Edited by Rutman Jacques. São Paulo, Brasil: J.J. Carol Editora, 2007.

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7

Stewart, Gordon. Mastering the Art of Performance. New York: Oxford University Press, 2007.

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8

Castro, Francisco Alonso González. Performance art en Chile. Santiago, Chile: Ediciones Metales Pesados, 2016.

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9

Stuart-Fox, David J., Natasha Reichle, and Francine Brinkgreve. Bali: Art, ritual, performance. San Francisco: Asian Art Museum--Chong-Moon Lee Center for Asian Art and Culture, 2010.

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10

Coco, Fusco, ed. Corpus delecti: Performance art of the Americas. London: Routledge, 2000.

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Частини книг з теми "Performance art":

1

Friedman, Dan. "Performance Art." In Performance Activism, 67–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80591-3_7.

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2

Micu, Andreea S. "Performance art." In Performance Studies The Basics, 22–44. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429286377-2.

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3

Sokolove, Deborah. "Performance Art." In Encyclopedia of Sciences and Religions, 1625–26. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_200370.

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4

Avgitidou, Angeliki. "Performing in public space." In Performance Art, 146–68. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-9.

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5

Avgitidou, Angeliki. "Body and space." In Performance Art, 109–28. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-7.

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6

Avgitidou, Angeliki. "Performance and the everyday." In Performance Art, 129–45. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-8.

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7

Avgitidou, Angeliki. "Introduction to performance." In Performance Art, 7–28. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-2.

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8

Avgitidou, Angeliki. "Materials in performance." In Performance Art, 29–54. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-3.

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9

Avgitidou, Angeliki. "Performing radical interventions." In Performance Art, 169–88. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-10.

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10

Avgitidou, Angeliki. "Nature, bodies, environment." In Performance Art, 189–212. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-11.

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Тези доповідей конференцій з теми "Performance art":

1

"[Cover art]." In 2008 16th IEEE Symposium on High Performance Interconnects. IEEE, 2008. http://dx.doi.org/10.1109/hoti.2008.37.

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2

"Cover Art." In 2011 Symposium on Application Accelerators in High-Performance Computing (SAAHPC). IEEE, 2011. http://dx.doi.org/10.1109/saahpc.2011.33.

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3

"[Cover art]." In 2009 International Workshop on High Performance Computational Systems Biology (HiBi 2009). IEEE, 2009. http://dx.doi.org/10.1109/hibi.2009.29.

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4

"[Cover art]." In 2009 17th Annual IEEE Symposium on High-Performance Interconnects (HOTI 2009). IEEE, 2009. http://dx.doi.org/10.1109/hoti.2009.38.

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"[Cover art]." In 2010 IEEE 18th Annual Symposium on High-Performance Interconnects (HOTI 2010). IEEE, 2010. http://dx.doi.org/10.1109/hoti.2010.34.

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Parker, J. R. "Games are art: Video games as theatrical performance." In 2013 IEEE International Games Innovation Conference (IGIC). IEEE, 2013. http://dx.doi.org/10.1109/igic.2013.6659148.

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"Cover Art." In 2010 DoD High Performance Computing Modernization Program Users Group Conference (HPCMP-UGC). IEEE, 2010. http://dx.doi.org/10.1109/hpcmp-ugc.2010.83.

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"[Cover art]." In 2009 11th IEEE International Conference on High Performance Computing and Communications (HPCC). IEEE, 2009. http://dx.doi.org/10.1109/hpcc.2009.113.

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"[Cover art]." In 2008 10th IEEE International Conference on High Performance Computing and Communications (HPCC). IEEE, 2008. http://dx.doi.org/10.1109/hpcc.2008.177.

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"Cover Art." In 2015 Workshop on Exploiting Silicon Photonics for Energy-Efficient High Performance Computing (SiPhotonics). IEEE, 2015. http://dx.doi.org/10.1109/siphotonics.2015.17.

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Звіти організацій з теми "Performance art":

1

Ricker, Neil Lawrence, and Benjamin B. Cipiti. Advancing the state of the art in materials accountancy through Safeguards Performance Modeling. Office of Scientific and Technical Information (OSTI), August 2008. http://dx.doi.org/10.2172/939846.

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2

Burchfield, Charles. Performance assessment of discontinuous fibers in fiber-reinforced concrete : current state-of-the-art. Geotechnical and Structures Laboratory (U.S.), July 2017. http://dx.doi.org/10.21079/11681/22771.

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3

Nekoogar, F., and F. Dowla. Performance Evaluation of State-of-the-Art Commercial UWB RFID Systems for Chain of Custody Process. Office of Scientific and Technical Information (OSTI), May 2010. http://dx.doi.org/10.2172/1129969.

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4

Singh, Reshma, Baptiste Ravache, and Dale Sartor. Transforming State-of-the-Art into Best Practice: A Guide for High-Performance Energy Efficient Buildings in India. Office of Scientific and Technical Information (OSTI), April 2018. http://dx.doi.org/10.2172/1433127.

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5

Enríquez-Enríquez, Diego, Carlos Mecina-Zapata, Hernán Riveros-Cárcamo, Daniel Jerez-Mayorga, and Francisco Guede-Rojas. Warm-up strategies and performance in competitive swimmers. A systematized narrative review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, September 2021. http://dx.doi.org/10.37766/inplasy2021.9.0038.

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Анотація:

Review question / Objective: In competitive swimmers, are warm-up strategies effective in improving time trial performance? The aim of this systematized narrative review is to analyze the state of the art regarding the effectiveness of warm-up strategies on time trial performance in competitive swimmers. Condition being studied: Effects of active, passive or mixed warm-up strategies on performance in time trials equal to or less than 200 meters applied in healthy competitive swimmers over 15 years of age. Information sources: An electronic search of the MEDLINE database was performed through PubMed.

6

Bueno, João, Heloiana Faro, Seth Lenetsky, Aleksandro Gonçalves, Stefane Dias, André Ribeiro, Bruno Victor Corrêa Silva, et al. Exploratory systematic review of Mixed Martial Arts: an overview of performance of importance factors with over 20,000 athletes. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, April 2022. http://dx.doi.org/10.37766/inplasy2022.4.0158.

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Review question / Objective: The objective of the present study was to analyze the findings of the scientific literature related to MMA through an exploratory systematic review on the subject and to present the state of the art of the sport from a multifactorial perspective. Condition being studied: Mixed Martial Arts (MMA) is a full contact combat sport characterized by its high degree of freedom in offensive and defensive approaches resulting in the inclusion of techniques and tactics from multiple combat sport styles. MMA has gained legitimacy and uniformity of rule sets after a tumultuous and unregulated introduction in North America as well as it is one of the fastest growing sports in the world. However, to the best of our knowledge, there are still no methodical, comprehensive, transparent, and replicable studies that have summarized the overall perspective of MMA athletes, resulting in an integrated analysis for a better scientific understanding and more efficient practical applications.

7

Cook, Daniel A. ATR Performance Estimation Seed Program. Fort Belvoir, VA: Defense Technical Information Center, September 2015. http://dx.doi.org/10.21236/ada624467.

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DEPARTMENT OF THE NAVY WASHINGTON DC. CINCLANTFLT FY 96 Government Performance and Results Act (GPRA) Performance Report. Fort Belvoir, VA: Defense Technical Information Center, February 1997. http://dx.doi.org/10.21236/ada329141.

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9

Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.

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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.

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Rodakowski, Rich. Performance Measurement for the National Performance Review (NPR), Government Performance and Results Act (GPRA), and Army Performance Improvement Criteria (APIC). Fort Belvoir, VA: Defense Technical Information Center, December 1995. http://dx.doi.org/10.21236/ada319415.

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