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Riegen, Michael von Verfasser], and Norbert [Akademischer Betreuer] [Ritter. "Ablaufkontrolle von Prozess-Choreographien / Michael von Riegen. Betreuer: Norbert Ritter." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2012. http://d-nb.info/102757324X/34.
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Schellow, Constanze [Verfasser]. "Diskurs-Choreographien : Zur Produktivität des 'Nicht' für die zeitgenössische Tanzwissenschaft / Constanze Schellow." München : epodium Verlag A. Backoefer, 2016. https://www.epodium.de.
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Hardt, Yvonne. "Politische Körper : Ausdruckstanz, Choreographien des Protests und die Arbeiterkulturbewegung in der Weimarer Republik /." Münster : Lit Verl, 2004. http://catalogue.bnf.fr/ark:/12148/cb39946359x.
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Decker, Gero. "Design and analysis of process choreographies." Phd thesis, Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2010/4076/.
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With the rise of electronic integration between organizations, the need for a precise specification of interaction behavior increases. Information systems, replacing interaction previously carried out by humans via phone, faxes and emails, require a precise specification for handling all possible situations. Such interaction behavior is described in process choreographies. Choreographies enumerate the roles involved, the allowed interactions, the message contents and the behavioral dependencies between interactions. Choreographies serve as interaction contract and are the starting point for adapting existing business processes and systems or for implementing new software components.
As a thorough analysis and comparison of choreography modeling languages is missing in the literature, this thesis introduces a requirements framework for choreography languages and uses it for comparing current choreography languages. Language proposals for overcoming the limitations are given for choreography modeling on the conceptual and on the technical level.
Using an interconnection modeling style, behavioral dependencies are defined on a per-role basis and different roles are interconnected using message flow. This thesis reveals a number of modeling "anti-patterns" for interconnection modeling, motivating further investigations on choreography languages following the interaction modeling style. Here, interactions are seen as atomic building blocks and the behavioral dependencies between them are defined globally. Two novel language proposals are put forward for this modeling style which have already influenced industrial standardization initiatives.
While avoiding many of the pitfalls of interconnection modeling, new anomalies can arise in interaction models. A choreography might not be realizable, i.e. there does not exist a set of interacting roles that collectively realize the specified behavior. This thesis investigates different dimensions of realizability.Elektronische Integration zwischen Organisationen erfordert eine präzise Spezifikation des Interaktionsverhaltens: Informationssysteme, die Kommunikation per Telefon, Fax und Email ablösen, können nicht so flexibel und selbständig auf Ausnahmesituationen reagieren wie Menschen. Choreographien ermöglichen es, Interaktionsverhalten genau zu spezifizieren. Diese Modelle zählen die beteiligten Rollen, die erlaubten Interaktionen, Nachrichteninhalte und Verhaltensabhängigkeiten auf und dienen somit als Interaktionsvertrag zwischen den Organisationen. Auch als Ausgangspunkt für eine Anpassung existierender Prozesse und Systeme sowie für die Implementierung neuer Softwarekomponenten finden Choreographien Anwendung. Da ein Vergleich von Choreographiemodellierungssprachen in der Literatur bislang fehlt, präsentiert diese Arbeit einen Anforderungskatalog, der als Basis für eine Evaluierung existierender Sprachen angewandt wird. Im Kern führt diese Arbeit Spracherweiterungen ein, um die Schwächen existierender Sprachen zu überwinden. Die vorgestellten Erweiterungen adressieren dabei Modellierung auf konzeptioneller und auf technischer Ebene. Beim Verlinkungsmodellierungsstil werden Verhaltensabhängigkeiten innerhalb der beteiligten Rollen spezifiziert und das Interaktionsverhalten entsteht durch eine Verlinkung der Kommunikationsaktivitäten. Diese Arbeit stellt einige "Anti-Pattern" für die Verlinkungsmodellierung vor, welche wiederum Untersuchungen bzgl. Choreographiesprachen des Interaktionsmodellierungsstils motivieren. Hier werden Interaktionen als atomare Blöcke verstanden und Verhaltensabhängigkeiten werden global definiert. Diese Arbeit führt zwei neue Choreographiesprachen dieses zweiten Modellierungsstils ein, welche bereits in industrielle Standardisierungsinitiativen eingeflossen sind. Während auf der einen Seite zahlreiche Fallstricke der Verlinkungsmodellierung umgangen werden, können in Interaktionsmodellen allerdings neue Anomalien entstehen. Eine Choreographie kann z.B. "unrealisierbar" sein, d.h. es ist nicht möglich interagierende Rollen zu finden, die zusammen genommen das spezifizierte Verhalten abbilden. Dieses Phänomen wird in dieser Arbeit über verschiedene Dimensionen von Realisierbarkeit untersucht.
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Wehren, Julia. "Überlegungen zum Körper als Archiv." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-172664.
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Die Aneignung und Überlieferung im Tanz verläuft in hohem Masse über den praktischen Vollzug: Von Körper zu Körper, durch Nachahmung und basierend auf der Erinnerungsleistung des Körpers.
Diese Spezifik prägt nicht nur grundlegend die Tanzgeschichte und ihre Schreibung, sie ist auch Gegenstand einer seit Mitte der 1990er Jahre virulenten Auseinandersetzung mit Archivierungsprozessen und Vermittlungsstrategien im Tanz. Welche Rolle dabei dem Körper, seiner Geschichtlichkeit und Artikulationsfähigkeit zukommt, wird nicht zuletzt in der Tanzpraxis selbst vielseitig verhandelt. Sie birgt, so meine These, auch für die Tanztheorie Erkenntnispotential. Inwiefern und warum soll hier ausgehend von zwei choreografischen Reflexionen zu Transferwegen des Tanzes dargelegt werden. Im Zentrum steht dabei die Frage nach der epistemologischen Funktion des Körpers im Hinblick auf ein Archiv des Tanzes.
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Wehren, Julia. "Überlegungen zum Körper als Archiv." map - media archive performance ; 2014/5 (E-Journal, URL: http://www.perfomap.de, ISSN 2191-0901), 2014. https://slub.qucosa.de/id/qucosa%3A5472.
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Die Aneignung und Überlieferung im Tanz verläuft in hohem Masse über den praktischen Vollzug: Von Körper zu Körper, durch Nachahmung und basierend auf der Erinnerungsleistung des Körpers.
Diese Spezifik prägt nicht nur grundlegend die Tanzgeschichte und ihre Schreibung, sie ist auch Gegenstand einer seit Mitte der 1990er Jahre virulenten Auseinandersetzung mit Archivierungsprozessen und Vermittlungsstrategien im Tanz. Welche Rolle dabei dem Körper, seiner Geschichtlichkeit und Artikulationsfähigkeit zukommt, wird nicht zuletzt in der Tanzpraxis selbst vielseitig verhandelt. Sie birgt, so meine These, auch für die Tanztheorie Erkenntnispotential. Inwiefern und warum soll hier ausgehend von zwei choreografischen Reflexionen zu Transferwegen des Tanzes dargelegt werden. Im Zentrum steht dabei die Frage nach der epistemologischen Funktion des Körpers im Hinblick auf ein Archiv des Tanzes.
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DiLodovico, Amanda. "Choreographies of Disablement." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/479157.
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DancePh.D.
Choreographies of Disablement interrogates the historical relationship between dance and disability to recognize and define ‘disablement’ as a choreographic concept within contemporary dance practice. Working from choreographic analysis, interviews, and theories of sovereignty and crip time I argue ‘disablement’ grows out of the historical nexus in which Western concert dance, through the paradigm of ballet, was cultivated: the seventeenth century French political sphere and the prestige of a sovereign balletomane King. The performances of French kings in the burlesque ballet choreographies of 1624-1627 serve as the historical center of this research because disability has a political role to play at the dawn of concert dance in the West. This insight provides the historical perspective from which I locate the development of ‘disablement’ in the seventeenth century and identify its emergence in twenty-first century choreographies. This dissertation uses the historical and political significance of the burlesque ballets as a touchstone to then analyze three contemporary sites of choreography produced between 2004 and 2016. Chapter 3 considers the repertory of German choreographer Raimund Hoghe, a queer disabled artist. I focus attention on his piece Sacre – The Rite of Spring (2004), which draws upon dance’s historical, canonical past. Chapter 4 focuses on Disabled Theater (2012), devised by French choreographer Jérôme Bel in collaboration with the Swiss-based company Theater Hora, a professional theater company comprised of performers with developmental disabilities. The piece is composed of theatrical tasks, including the presentation of self-choreographed dance solos. Chapter 5 centers on the collaborative performance work, A Fierce Kind of Love (2016), comprised of Philadelphia-based disabled and nondisabled performers with choreography by US dance artist Nichole Canuso. Taken together, my analysis of these sites questions the state of disability within the discursive space of dance studies, and in turn positions ‘disablement’ as a historically inflected site of choreographic thinking materializing in contemporary practice.
Temple University--Theses
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Giallorenzo, Saverio <1986>. "Real-World Choreographies." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7512/.
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Choreographies are a relatively new tool for designing distributed systems from a global viewpoint. Moreover, choreographies are also free from deadlocks and race conditions by design. Recent theoretical results defined proper Endpoint Projection (EPP) functions to compile choreographic specifications into their single components. Since EPPs are behavioural preserving, projected systems also enjoy freedom from deadlocks and races by construction.
Aim of this PhD is to formalise non-trivial features of distributed systems with choreographies and to translate our theoretical results into the practice of implemented systems. To this purpose, we provide two main contributions.
The first contribution tackles one of the most challenging features of distributed development: programming correct and consistent runtime updates of distributed systems. Our solution is a theoretical model of dynamic choreographies that provides a clear definition of which components and behaviours can be updated. We prove that compiled choreographic specifications are correct and consistent after any update. We also refine our theoretical model to provide a finer control over updates. On this refinement, we develop a framework for programming adaptable distributed systems.
The second contribution covers one of the main issues of implementing theoretical results on choreographies: formalising the compilation from choreographies to executable programs. There is a sensible departure between the present choreographic frameworks and their theoretical models because their theories abstract communications with synchronisation on names (a la CCS/π-calculus) yet they compile to Jolie programs, an executable language that uses correlation — a renown technology of Service-Oriented Computing — for message routing. Our solution is a theory of Applied Choreographies (AC) that models correlation-based message passing. We pinpoint the key theoretical problems and formalise the principles that developers should follow to obtain correct implementations. Finally, we prove our approach by defining a correct compiler from AC to the calculus behind the Jolie language.
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Bayer, David Michael. "Choreographing Sediment." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/54029.
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In 2016 the Panama Canal expansion is set to open, allowing a new class of ships to call on east coast ports. The dredging involved in deepening navigation channels to ensure safe passage of these vessels will place an increased amount of pressure on containment facilities up and down the coast. With limited disposal space, and increasing volumes, many ports have begun to rethink the treatment of this excess material. This thesis explores the prospect of dredge material being more than engineered fill. It suggests that dredge processing can become the basis for a new form of productive recreational landscape, one that can engage the public in a conversation of the spatial and material operations that sustain our lives. It works blur and dissolve the boundaries that have been erected between working landscapes and the public realm, and seeks to create a landscape that establishes a new sense of place prepared to mark the future of the new working urban waterfront; one where industrial operations generate new ecological substrates, and where productive frameworks become recreation networks.Master of Landscape Architecture
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Sheaffer, Kelsey. "Choreographic Space." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4254.
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This thesis, Choreographic Space, and accompanying exhibit is an arrangement of contemporary work being done in the cross-over between movement, drawing, sound and architecture. The thesis develops a lineage of choreographic thinking through a fissure in the classification of a dance as necessarily the body in motion. Through the link of the “choreographic object,” Choreographic Space asks how an interdisciplinary exploration of the principles of movement can reveal novel ways to think about the body in space.
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Lange, Julien. "On the synthesis of choreographies." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/29310.
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The theories based on session types stand out as effective methodologies to specify and verify properties of distributed systems. A key result in the area shows the suitability of choreography languages and session types as a basis for a choreography-driven methodology for distributed software development. The methodology it advocates is as follows: a team of programmers designs a global view of the interactions to be implemented (i.e., a choreography), then the choreography is projected onto each role. Finally, each program implementing one or more roles in the choreography is validated against its corresponding projection(s). This is an ideal methodology but it may not always be possible to design one set of choreographies that will drive the overall development of a distributed system. Indeed, software needs maintenance, specifications may evolve (sometimes also during the development), and issues may arise during the implementation phase. Therefore, there is a need for an alternative approach whereby it is possible to infer a choreography from local behavioural specifications (i.e., session types). We tackle the problem of synthesising choreographies from local behavioural specifications by introducing a type system which assigns – if possible – a choreography to set of session types. We demonstrate the importance of obtaining a choreography from local specifications through two applications. Firstly, we give three algorithms and a methodology to help software designers refine a choreography into a global assertion, i.e., a choreography decorated with logical formulae specifying senders’ obligations and receivers’ requirements. Secondly, we introduce a formal model for distributed systems where each participant advertises its requirements and obligations as behavioural contracts (in the form of session types), and where multiparty sessions are started when a set of contracts allows to synthesise a choreography.
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Larsen, Ulrik Martin. "The Choreographed Garment." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3698.
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Contemporary dance and modern ballet often focus on conveying emotions through patterns of movement which may be abstract, obvious, or anywhere in between, as supported by music, sound, or spoken words that set the mood. Scenography is typically sparse or confined to the available space, leaving the dancers as the main instrument of communication. This work explores choreography and costume design, with a focus on how garments can inform and direct movement, choreography, and performance, and in turn how movement may inform and contribute to the development of dynamic garments. Through a series of live experiments, ranging from self-instigated performance/video work in collaboration with choreographers and dancers to performances of garment interaction associated with everyday life, the performative, spatial, and interactive properties of garments are explored. The results of these live experiments relate to various aspects of choreography, scenography, and performance space, and offer wide-ranging creative potential. The work shows how designers and choreographers can collaborate on performance scenarios within the context of modern ballet and contemporary dance productions, thus creating conceptual garments that influence the design, choreography, and manipulation of conceptual garments. In relation to the act of dressing and undressing, previously unseen types of garment and ways of wearing and performing were found. New models of collaborative interaction are proposed. This work has demonstrated how the agency of garments can function as a manuscript in modern dance, and how performance itself redefines the notion of wearing and the concept of garments.
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McIlvenna, Stephen. "Synthesis of orchestrators from service choreographies." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29162/.
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With service interaction modelling, it is customary to distinguish between two types of models: choreographies and orchestrations. A choreography describes interactions within a collection of services from a global perspective, where no service plays a privileged role. Instead, services interact in a peer-to-peer manner. In contrast, an orchestration describes the interactions between one particular service, the orchestrator, and a number of partner services. The main proposition of this work is an approach to bridge these two modelling viewpoints by synthesising orchestrators from choreographies. To start with, choreographies are defined using a simple behaviour description language based on communicating finite state machines. From such a model, orchestrators are initially synthesised in the form of state machines. It turns out that state machines are not suitable for orchestration modelling, because orchestrators generally need to engage in concurrent interactions. To address this issue, a technique is proposed to transform state machines into process models in the Business Process Modelling Notation (BPMN). Orchestrations represented in BPMN can then be augmented with additional business logic to achieve value-adding mediation. In addition, techniques exist for refining BPMN models into executable process definitions. The transformation from state machines to BPMN relies on Petri nets as an intermediary representation and leverages techniques from theory of regions to identify concurrency in the initial Petri net. Once concurrency has been identified, the resulting Petri net is transformed into a BPMN model. The original contributions of this work are: an algorithm to synthesise orchestrators from choreographies and a rules-based transformation from Petri nets into BPMN.
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Ruf, Fabian. "Fault handling in BPEL-based choreographies." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:93-opus-33113.
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Nikaj, Adriatik [Verfasser], and Mathias [Akademischer Betreuer] Weske. "Restful choreographies / Adriatik Nikaj ; Betreuer: Mathias Weske." Potsdam : Universität Potsdam, 2019. http://d-nb.info/1218169648/34.
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Manaf, Nurulhuda A. "Generating verifiable service choreographies from SBVR models." Thesis, University of Surrey, 2018. http://epubs.surrey.ac.uk/845645/.
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Guaranteeing the correct coordination of distributed applications that are built up as networks of autonomous participants, e.g., software components, web services, online resources, software as a service (SaaS) peers, is inherently challenging. This is obvious when the current distributed applications involve a collaboration between loosely-coupled services on distinct providers; the ordering of interactions that may further affects the dependencies between different participants, including control flow dependencies (e.g., a given service invocation must occur before another one), time constraints, and transactional dependencies. This complexity of the development of distributed applications illustrates how important the techniques and approaches for designing and coordinating the service interactions between distinct participant services to ensure that the overall goal of the collaboration between participant services is achieved. Standardisation efforts to date have resulted in the Web Services Choreography Description Language (WS-CDL), a specification protocol advocated by W3C. WS-CDL and other modeling languages (e.g., UML2) provide various divergent semantics and less user-friendly graphical notation. On the other hand the formal approach would allow unambiguous specification and verification of the intended collaboraton. In this research work, a declarative approach was proposed for specifying coordination of distributed applications involving distinct participant services which is being able to verify that it is correct. The proposed approach could captures and describing the complex interactions that involves the ordering of service interaction based on the given global constraints. A new model using a declarative approach, an OMG standard Semantics of Business Vocabulary and Rules (SBVR) model was introduced for specifying service choreography. This SBVR model is then formulated and transformed into Alloy model using Alloy Analyzer for verification. A fully automated SBVR2Alloy tool was implemented for transforming from the developed SBVR model into the Alloy model. This proposed model is targeted to enable the practitioners (business analysts, developers) to devise and set up the service choreographies that realise their collaborations by generating the automated verifiable choreography model.
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Steckles, Katrina Mary. "Loop spaces and choreographies in dynamical systems." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/loop-spaces-and-choreographies-in-dynamical-systems(6fce2dbc-7035-4ff3-990c-6dd102389266).html.
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We consider a subset of the set of solutions to the n-body problem, termed choreographies, which involve a motion of particles where each follows the same path in space with a fixed time delay. Focusing on planar choreographies, we use the action of symmetry groups on the spatial and temporal motion of such systems to restrict a space of loops and study the topology of the resulting manifolds. As well as providing a framework of notation and terminology for the study of such systems, we prove various useful properties which allow us to classify the possible groups of symmetries, and discuss which are likely to be realisable as that of a motion of bodies.
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Bench, Harmony. "Choreographing bodies in dance-media." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930322891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Eleftheriadou, Ioulia. "Intra-Adventure : Choreographing Arctic Landscapes." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-133145.
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Helbing, Volker. "Choreographie und Distanz : Studien zur Ravel-Analyse /." Hildesheim : G. Olms, 2008. http://catalogue.bnf.fr/ark:/12148/cb41425898p.
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Hasch, Hannah R. "MY YEAR AS A CHOREOGRAPHER." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/201.
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My Year as a Choreographer analyzes the art and craft of dance choreography. My training as a theatre and dance student at East Tennessee State University from 2010-2014, culminated in my final senior capstone experience as a choreographer for two productions, the ETSU Division of Theatre and Dance’s 2014 Dance Concert and University School’s musical, Sleepy Hollow. Composing a new dance in a concert setting and choreographing for musical theatre provided significant material for analysis, and the following research compares the two processes. In addition, the research of the history and development of dance choreography and its modern practices created a better understanding of the artistic field. Both in theory and in practice, I explored the multitude of artistic responsibilities that are imperative to the process of a choreographer.
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Bucar, M. "Aesthetic negativity and choreographic practice." Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/15320/.
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At the core of this doctoral submission is a portfolio of three of my recent choreographic works(all created between 2011-2014), complemented by a text, which attempts to formulate a theoretical approach for explicating the works, through the lens of Theodor Adorno’s theory of the inherent negativity of modernist artworks. Such an approach places Adorno’s ideas at the very centre of the analytical view presented here, albeit via the semiotic (re)articulation of these same ideas in recent work by Christoph Menke. This, in turn, draws on earlier work done within aesthetic semiotics by Viktor Shklovsky, through which it is hoped that insight, clarification, and historical contextualisation will be forthcoming, whilst also casting an eye on the contemporary situation within arts making. The thesis is therefore a theoretical analysis of aesthetically negative philosophical thought within choreographic practice, but simultaneously it is an attempt to point to new knowledge; namely an enhancement of Menke's semiotic reading of Adorno, extended from the field of literature from which it originates, and brought into the field of dance, movement, and choreography. In addition to this, a vital second aspect of my approach will be a consideration of the extra - semiotic aspects of dance, read through a phenomenological understanding of kinaesthesia, and how our understanding of movement and choreography is rooted in basic aspects of our perceptive capabilities. Prior to the introduction, the beginning of this thesis, there is a presentation of factual information regarding the production aspects of the performances in a brief Foreword. The structure of the thesis is then as follows. The Introduction offers a short historic overview of Adorno’s theory of ‘aesthetic negativity’, and this is followed by three Chapters, titled: (1) Object and Subject, (2) Recombination, and (3) Projection. These three notions are not only essential to my work as methodological tools, but they also provide important references, connections and bilateral correspondences to similar concepts within Adorno’s aesthetic theory, thereby clarifying the relationship between theory and practice in my work. Chapter Four aims to re-inspect the works comprising The Urban Series in a similar fashion, while also placing their specific context within external, everyday and urban environments under critical examination.
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Larson, Brianna J. "Process Metamorphosis, My Choreographic Journey." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4845.
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Process Metamorphosis, My Choreographic Journey describes the journey from my initial interest in choreography to where I find myself as a choreographic artist today. Throughout the paper I look at different productions I have worked on, both professionally and within an educational setting, and different people I have collaborated with. Included will be thoughts from peers and mentors as well as my own observations from rehearsals and meetings. I will also be pulling information from my notes and journals while working on shows over the last twelve years.
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Ando, Taku. "Kinesthetic imagery and choreographic praxis." Thesis, City University London, 2014. http://openaccess.city.ac.uk/5907/.
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The aim of this research project is to investigate the practical application of some ideas regarding how dancers can create certain types of mental images that are formed through their kinesthetic perception, which we shall define as ‘kinesthetic images’, and to study the spatial or geometric structures that are often utilized in choreographic and pedagogical dance praxis. The term kinesthetic image is a label for a certain types of mental imagery that are generated through the sensation of moving body, as well as dynamic qualities that are kinesthetically perceived from movement. Dancers can create mental images from these type of kinesthetic experiences by enhancing their sensory awareness and sensorimotor knowledge, which are both innate and acquired through training. My dance practice also concerns a development of an improvisation method in which dancers explore an interaction between these kinesthetic images and a visualization of morphodynamic volume (hereafter MDV), which is a three-dimensional volume in a constant state of flux. The term intensive space will be introduced to give a definition to this related type of spatial categorization, one which involves continuous and dynamic transformations of both danced space and the images associated with it, such as stretching, folding and connectivity. This spatial paradigm will be contrasted with its opposite, namely extensive spaces or geometries, which involve the division and subdivision of danced space in terms of metric properties like points, lines, and planes. The first chapter is a review of how choreographically structured movement has been historically conceived and created using spatial concepts and imagery which involve the spatial structures of these types of extensive geometries. This historical analysis commences during the Enlightenment, at a time when the aesthetics and basic movement vocabulary of classical ballet were in a state of genesis. The discussion of geometric paradigms in dance practice continues through this chapter chronologically through to modernity, looking at the characteristics of the choreographic practices of George Balanchine, Rudolf Laban, Merce Cunningham, and William Forsythe. The second chapter discusses the Improvisation Technologies conceived by Forsythe as a paradigmatic example of the utilization of kinesthetic images and extensive geometry for the purposes of movement creation during dancers’ improvisation. This analysis of Forsythe’s methodology brings forth with it questions as to how choreographic praxis can utilize intensive space as an alternative geometric paradigm with which dancers can interact for the generation of movement. This discussion is rooted in some theoretical elements, such as phenomenology, the philosophy of perception, cognitive science, and mathematical topology, which creates a theoretical foundation for an improvisational practice that suggests intensive spatial structure as an alternative ideational mechanism for movement generation. The third chapter is a documentation of the chronological development of a pedagogical improvisation method, based on these concepts of kinesthetic imagery and intensive spatial structuring. For the purposes of investigating both choreographic and pedagogical aspects, an extensive period of practice-based research resulted in the production of two improvisatory performances entitled Mix:01 and Mix:02. These performances are discussed and are coupled with the critical observation of the preceding series of studio sessions. Both the performances and the creative processes that led to them are subsequently analysed for the purposes of isolating effective practice.
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Mikou, Ariadni. "Choreographing events : demolition, trace and encounter." Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/Choreographing-events(2cf1cceb-b37b-4578-b5b2-27e6e3de589c).html.
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Every generation is challenged by the question of what to preserve, what to alter and what to let disappear and die. In this journey, demolition becomes a critical moment, eliminating built architecture as an erect material object. Focusing on demolition as a phenomenon that resists the passing of time through destruction, my research explores demolition as a concept that has something to offer the present. In Choreographing Events, demolition, as a process of transformation, becomes an artistic method; a choreographic strategy with multiple expressions. This practice-as-research enquiry (Haseman, 2006; Nelson, 2013; Rendell, 2004) aims to explore the space that lies between the disciplines of dance, choreography, architecture and the screen. In the in-between space (Grosz, 2001) of the aforementioned disciplines, I perform a series of demolitions as transgressions (Jenks 2013) which take the form of dance-architectures (hybrids between dance and architecture),choreographic diagrams (visual tools emerging from the intersection of architectural diagrams and dance scores), unstable archives (spatio-corporeal ‘documents’), choreographic environments and events (spatial conditions for corporeal and performance-based interactions). Through these inter-disciplinary encounters, demolition appears as a dynamic process that allows movement in the liminal space between stability and mobility, trace and disappearance and permanence and ephemerality. Informed by Bernard Tschumi’s thinking, I draw connections between event-spaces (1996) and the work of choreography to un-do, and thus demolish, fixed perceptions of space. Event-spaces as a triangulation of movement, space and action are applied in the performing space of the theatre -architecture (specifically the Black Box Theatre) and have been expanded in the tracing as writing (choreo-graphing and cinemato-graphing) of architecture as an event-based, and thus spatio-corporeal, and archival practice. Two practice-as-research projects, Choreo graphic Process Architecturally Devised (2015) and Anarchitextures (2016) offer a critique of the traditional forms of dance-making inside theatrical places, proposing an expanded choreographic practice that questions the theatrical apparatus while revealing the performativity of space. This research is relevant to dance artists and architects interested in space-making practices, re-theatricalisations, site-interventions and embodied ways of activating and archiving architecture.
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Neroutsos, Efthymios. "Choreographing Traffic Services for Driving Assistance." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-210984.
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This thesis project presents the web service choreography approach used for the composition of web services. It leverages the CHOReVOLUTION platform, a future-oriented and scalable platform, that is used to design and deploy web service choreographies. By using this platform, a use case that falls into the ITS domain is developed. This use case highlights the benefits of the web service choreography when used for the development of ITS applications. The necessary web services are designed and their interactions are defined through a choreography diagram that graphically represents how the services should collaborate together to fulfill a specific goal. By using the choreography diagram as input to the platform and by registering the web services on a web server, the choreography is deployed over the platform. The resulted choreography is tested in terms of services coordination. It is demonstrated that the platform can generate specific components that are interposed between the services and are able to take care of the services coordination for the use case created. Moreover, the execution time required to complete the choreography is measured, analyzed and reported under different conditions. Finally, it is shown that the execution time varies depending on the data that the services have to process and that the processing of huge data sets may lead to high execution times.Detta examensarbete behandlar hur man med hjälp koreografering av webbtjänster kan komponera webbtjänster. Det använder sig av CHOReVOLUTION plattformen, en framåtblickande och skalbar plattform, som används för att designa och verkställa koreografering av webbtjänster. Med denna plattform skapas ett användningsfall inom ITS-området. Detta fall belyser fördelarna med webbtjänskoreografi i samband med utveckling av ITS- applikationer. De nödvändiga webbtjänsterna designas och deras samspel definieras genom ett diagram för koreografin, som på ett grafiskt vis presenterar hur tjänsterna skall kollaborera för att nå ett specifikt mål. Genom att mata plattformen med data från diagrammet, och genom att registrera webbtjänster på en webbserver, verkställs koreografin. Med resultatet testas koordineringen av tjänsterna. I detta examensarbete visas det att plattformen kan skapa specifika komponenter som interagerar med tjänsterna, samt sköta koordineringen av tjänster som krävs för detta användningsfall. Exekveringstiden mäts, analyseras och rapporteras under flera olika omständigheter. Det demonstreras också att exekveringstiden varierar beroende på den data som tjänsterna måste behandla, och hur behandlingen av mycket stora datamängder kan leda till långa exekveringstider.
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Rothkamm, Jörg. "Zur Beziehung von Musik und Choreographie im Ballett." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72003.
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Mahfouz, Ayman. "Requirements-driven adaptation of choreographed interactions." Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578666.
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Electronic services are emerging as the de-facto enabler of interaction interoperability across organization boundaries. Cross-organizational interactions are often "choreographed", i.e. specified by a messaging protocol from a global point of view independent of the local view of each interacting organization. Local requirements motivating an interaction as well as the global contextual requirements governing the interaction inevitably evolve over time, requiring adaptation of the corresponding interaction protocol. Adaptation of an interaction protocol must ensure the satisfaction of both sets of interaction requirements while maintaining consistency between the global view and the local views of an interaction specification. Such adaptation is not possible with the current state-of-the-art representations of choreographed interactions, as they capture only operational messaging specifications detached from both local organizational requirements as well as global contextual requirements. This thesis presents three novel contributions that tackle adaptation of choreographed interaction protocols: an automated technique for deriving an interaction protocol from requirements, a formalization of consistency between local and global views, and a framework for guiding the adaptation of a choreographed interaction. A choreographed interaction is specified using models of organizational requirements motivating the interaction. We employ the formal semantics embedded in requirements models to automatically derive an interaction protocol. We propose a framework for relating the global and local views of interaction specification and maintaining consistency between them. We develop a metamodel for interaction specification, from which we enumerate adaptation operations. We build a catalogue that provides guidance on performing each operation and propagating changes between the global and local views. These contributions are evaluated using examples from the literature as well as a real-world case study.
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Brown, Carol. "Inscribing the body : feminist choreographic practices." Thesis, University of Surrey, 1994. http://epubs.surrey.ac.uk/619/.
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Whyte, Christinn. "Choreographic sensibility in screen based dance." Thesis, Middlesex University, 2007. http://eprints.mdx.ac.uk/13501/.
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The principal aim of this research is the critical investigation into the creative processes involved in the making of screen based work in dance and the moving image, with specific reference to the notion of choreographic sensibility. The research process has been located within a climate of evolving production paradigms and the increasingly permeable boundaries of professional roles. A marked increase in educational initiatives and opportunities for showing work within the environment of festival screenings has also coincided with a discernible shift towards smaller scale models of production. The investigation has been undertaken by means of a written submission and also by the creation of a forty two piece cycle of work submitted on DVD. Selected examples of work from screen based dance and moving image practice have been subject to a process of analysis. This analysis has been informed by critical perspectives drawn from the writings of selected classical film theorists, from influential filmmakers Maya Deren and Stan Brakhage, and from the field of practice theory. From this analysis, it can be claimed that examples of screen based dance and moving image work have the potential to be read 'choreographically'. Some of the common practices in theatre dance and screen based dance relate directly to the notion of movement material creation. Others must be regarded as relating to an enhanced and more conceptually oriented range of choreographic practices which are more usually associated with the non dance-specific professional roles of the director, editor and visual artist. A distinctive choreographic sensibility has also been identified in the creation of my own screen based work. This sensibility can be said to be located within a range of improvisationally oriented strategies. These strategies relate to the processes involved in performance; the creation of movement material; directing and editing, all of which are informed by a body of professionally developed intuitive knowledge.
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Blume, Maile. "Reflections on Here: A Choreographic Thesis." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/995.
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This choreographic thesis describes the conceptual foundations underlying the development of the dance, Here. Here uses text and movement to explore the challenge of locating of locating oneself in this particular institution. It asks the questions: what happens when our personal needs conflict with the structure of this institution? How do we use our limited capacities to exist / resist / care for each other in this place? Reflections on Here describes the choreographic inquiries and discoveries that contributed to the development of Here. It includes research on desire and mourning, as well as reflections on the power of autobiographical dance.
Reflections on Here analyzes the work of Bill T. Jones and Cynthia Oliver as a way of understanding how autobiographical dance and text may be used to support one another in performance. It examines how work in the studio as well as in performance can build a feeling of “compassionate power” onstage. This idea of “compassionate power” is used in this project to describe the somatic principles that may embody the loving action that takes place during collective organizing. These somatic principles include sensing and working with the weight of the body on the floor and working with momentum rather than forcing movements to take place. Reflections on Here analyzes how the idea of compassionate power infused the development of Here, and connects the work of choreographers who are concerned with showing personhood and their sociopolitical landscape onstage. Finally, Reflections on Here acknowledges the necessity for this choreographic project to be contextualized within – and connected to – the ongoing brave and compassionate organizing happening at Scripps College.
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Bernagozzi, Stefano. "Towards artificial creativity: evolutionary methods for generating robot choreographies." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21493/.
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Today robotics is widely used in many fields, from simple houseworks like floor cleaning to more complex tasks like rescuing people in dangerous situations such as earthquakes. Recently it has been expanding to a more creative field: entertainment. For this reason we have thought of developing a genetic algorithm that allows the robot to dance, starting from the codification of movements in order to achieve the creation of true choreographies.We start by analysing Noh choreographies, and then we transpose them ontoa humanoid robot, Nao. We then proceed by going through the implementation of an algorithm that allows the creation of choreographies. One of the hardest challenges that we will face is to create choreographies that are both faithful to Noh theater and new at the same time. We will conclude focusing on the evaluation criteria of the results and presenting some hypothesis for future developments in this field.
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Smith, Sue. "Dancing in the dark : described dances and unseen choreographies." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/13358/.
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This thesis enquires how a rethinking of sight as the primary sense for experiencing dance performance can instigate new choreographies that embody the interplay between seen and unseen, described and not described, inside and outside, subject and object. By ‘unseen’ I mean invisible to the eye but potentially available to other senses or imaginative capacities. Choreography is a methodological and critical lens through which to explore relationships between description, translation and sensory perception in a range of performance engagements that invite multi-sensory attention. The research is launched with implications arising from a consideration of audiodescription: the supposed neutrality of the speaker, the potential for cultural mismatches or power tensions in translation and the challenge of making spoken language more fully represent the body in performance. The thesis argues that rethinking ideas of description, from the beginning of a devising process, can lead to the production of choreographic work that does not privilege vision. The research for this thesis has involved choreographic practice combined with writing. In this writing, the on-going narrative of my choreographic studio work has been deliberately interwoven with analysis and contextualisation of this practice. The different elements enacted in the studio and at the writing desk have continually interacted, back and forth, identifying in the process, appropriate objectives for successive phases. For example, the reflections stimulated at each phase of concurrent theoretical research and studio work have deepened my choreographic enquiries, while also identifying other points requiring further exploration. This exploration has been carried out during further practical choreographic experiments in the studio, triggering still further theoretical analysis, and so on. In this way, the dancer writing becomes, and interacts with, the writer dancing. Sensory and kinaesthetic knowledge can build a more integrated and immersive sensual experience of dance as something to be not just observed but also engaged in. The intention is that insights from the research will inform strategies for original choreography expressed in performance.
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Sparacino, Flavia 1965. "DirectIVE-- choreographing media for interactive virtual environments." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/62336.
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Latortue, Cynthia (Cynthia Pascale). "Cushion comfort constraint : choreographing infrastructures of mobility." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/72966.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Page 70 blank. Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (p. 69).
Surface in the city is scarce. As a typical day in the city progresses, the inhabitants' surface demands transform. A children's playground goes unused at night, the valuable surface should be re-adapted for an alternative use, say a parking space for the neighborhoods drivers. This project seeks to transform the urban surface of the city, by deploying variable mobile autonomous infrastructures. The furnitures are programmed to be responsive to the temporal demands of the current city. They change position and rearrange themselves for the three major episodes of daily life, Morning and Afternoon, Commute, and Evening. Physically the furnitures transform the city surface. Mobility in neighborhoods is dictated by their placement and type. Consequently the furniture's placement is dependent on a neighborhood's profile. The mobile infrastructures are capable of providing a safety buffer from traffic, creating new major transportation routes, and creating a new temporary program to a space. For example, a schoolyard in the Morning and Afternoon, would be protected from traffic by a buffer of infrastructures on the exterior perimeter. Meanwhile mobile sandboxes, sports fields, etc. occupy the interior pocket of space created. The urban surface is also marked by a social transformation. This model reinforces building boundaries as private space, and any exterior surface (backyard, driveway, alley, street, sidewalk, parking lot, etc.) as inhabiting the public realm. Thusly the city is left available as social space, which is constantly adapting to inhabitants needs.
by Cynthia Latortue.
S.B.
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Wistort, Ryan Mark. "TofuDraw : choreographing robot behavior through Digital Painting." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/62085.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 97-99).
In this document, TofuDraw is introduced as an expressive robotic character with interfaces that enable children to choreograph robotic behaviors through controlling both physical motion and form. Unique to the TofuDraw system is the presented "Digital Painting" interface, which enables children to choreograph the motion and form of an expressive robot through coloring a digitally projected surface using the affordances of painting. Additional interfaces are also presented, which enable children to control the robotic character in a realtime fashion using more traditional video game inspired control. Using these interfaces, the TofuDraw system intends to animate expressive robotic characters serving as transitional objects that allow children to explore a ́microworld where theater is the primary language. Evaluations of the TofuDraw system with children ages 3-8 suggest that children can incorporate the presented expressive robotic characters into their fantasy play patterns and control the expressive robot's behavior through numerous control interfaces designed to choreograph both form and motion.
Ryan Mark Wistort.
S.M.
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Sabisch, Petra. "Choreographing relations : practical philosophy and contemporary choreography." Thesis, University of Greenwich, 2009. http://gala.gre.ac.uk/5650/.
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This thesis undertakes the Deleuzian experiment of a conceptual site development of contemporary choreography through analysis of the works of Antonia Baehr, Juan Dominguez, Xavier Le Roy and Eszter Salamon. It examines the way these works transform choreography qualitatively by elaborating singular methods which couple the issue of movement with the creation of aesthetic regimes. As opposed to a representational outline of choreography’s ontology, my thesis investigates the participatory potential of choreography by focussing on the singular relational assemblages that each choreography creates with the audience. These singular relational assemblages defy practical philosophy insofar as they require a methodology which can account for their dynamic complexity without reducing them either to pre-established categories or to a static analysis. On the basis of Gilles Deleuze and Félix Guattari’s transcendental empiricism, my thesis responds to this challenge by establishing contamination and articulation as methodological concepts for an open ended inventory of what choreography can do. Contamination, on the other hand, accounts for the qualitative transformations that concern bodies in their power to assemble and to be assembled. Articulation, on the other hand, names the qualitative transformations of sense that a choreography conveys through its differential composition. Both concepts are inseparably interwoven and specified in the aesthetic regimes of the Retenu and the Dé-lire. While the Retenu scrutinizes the way movements generate a continuous transformation of body images (cinematic retenu) and sensations (cine-emotional retenu), the Dé-lire explores the choreography of temporal relations. Showing how these singular assemblages and their implicit methods critically redistribute the sensible of choreography at the turn of the twenty-first century, the four concepts of my thesis form the argument in itself. This argument highlights the ethical impact of qualitative experimental research, specifies the prolific capacities of choreography and forces practical philosophy to rethink their relation.
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Cvejic, Bojana. "Choreographing problems : expressive concepts in European dance." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25084/.
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This dissertation explores how a recent set of practices III contemporary choreography in Europe (1998-2007) give rise to distinctive concepts of its own, concepts that account for processes of making, performing, and attending choreographic perfonnances. The concepts express problems that distinguish the creation of seven works examined here (Self unfinished and Untitled by Xavier Le Roy, Weak Dance Strong Questions by Jonathan Burrows and Jan Ritsema, heatre-elevision by Boris Charmatz, Nvsbl by Eszter Salamon, 50/50 by Mette Ingvartsen, and It's In The Air by Ingvartsen and Jefta van Dinther). The problems posed by these choreographers critically address the prevailing regime of representation in theatrical dance, a regime characterized by an emphasis on bodily movement, identification of the human body, and the theater's act of communication in the reception of the audience. In the works considered here, the synthesis between the body and movement-as the relation of movement to the body as its subject or of movement to the object of dance-upon which modem dance is founded is broken. Choreographing problems, in the sense explored in this dissertation, involves composing these ruptures between movement, the body and duration in perfonnance such that they engender a shock upon sensibility, one that inhibits recognition. Thus problems "force" thinking as an exercise of the limits of sensibility that can be accounted for not by representation, but by the principle of expression that Gilles Deleuze develops from Spinoza's philosophy. "Part-bodies," "part-machines," "movement-sensations," "headbox," "wired assemblings," "stutterances," "powermotion," "crisis-motion," "cut-ending," and "resonance" are proposed here as expressive concepts that account for the construction of problems and compositions that desubjectivize or disobjectivize relations between movement, body, and duration, between performing and attending (to) performance. Developed through a careful analysis of how problems structure these performances, this thesis on expressive concepts further contributes to a redefinition of performance in general by making two additional claims. The first concerns the disjunction between making, performing and attending as three distinct modes of performance that involve divergent temporalities and processes. The second regards the shift from performance as the act in the passing present towards the temporalization of perfonllance qua process, where movement and duration are equated with ongoing transformation, a process that makes the past persist in the present.
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Sloan, Robin J. S. "Emotional avatars : choreographing emotional facial expression animation." Thesis, Abertay University, 2011. https://rke.abertay.ac.uk/en/studentTheses/2363eb4a-2eba-4f94-979f-77b0d6586e94.
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As a universal element of human nature, the experience, expression, and perception of emotions permeate our daily lives. Many emotions are thought to be basic and common to all humanity, irrespective of social or cultural background. Of these emotions, the corresponding facial expressions of a select few are known to be truly universal, in that they can be identified by most observers without the need for training. Facial expressions of emotion are subsequently used as a method of communication, whether through close face-to-face contact, or the use of emoticons online and in mobile texting. Facial expressions are fundamental to acting for stage and screen, and to animation for film and computer games. Expressions of emotion have been the subject of intense experimentation in psychology and computer science research, both in terms of their naturalistic appearance and the virtual replication of facial movements. From this work much is known about expression universality, anatomy, psychology, and synthesis. Beyond the realm of scientific research, animation practitioners have scrutinised facial expressions and developed an artistic understanding of movement and performance. However, despite the ubiquitous quality of facial expressions in life and research, our understanding of how to produce synthetic, dynamic imitations of emotional expressions which are perceptually valid remains somewhat limited. The research covered in this thesis sought to unite an artistic understanding of expression animation with scientific approaches to facial expression assessment. Acting as both an animation practitioner and as a scientific researcher, the author set out to investigate emotional facial expression dynamics, with the particular aim of identifying spatio-temporal configurations of animated expressions that not only satisfied artistic judgement, but which also stood up to empirical assessment. These configurations became known as emotional expression choreographies. The final work presented in this thesis covers the performative, practice-led research into emotional expression choreography, the results of empirical experimentation (where choreographed animations were assessed by observers), and the findings of qualitative studies (which painted a more detailed picture of the potential context of choreographed expressions). The holistic evaluation of expression animation from these three epistemological perspectives indicated that emotional expressions can indeed be choreographed in order to create refined performances which have empirically measurable effects on observers, and which may be contextualised by the phenomenological interpretations of both student animators and general audiences.
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Nel, Dayne Elizabeth. "Order through improvisation : engaging the choreographic environment." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71756.
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Thesis (MDram)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In the field of choreography, there are many different emerging theories and methodologies. One such theory uses the individual and unique performers to create and generate movement vocabulary. For the student-choreographer, who is still developing their artistic voice, certain markers need to be put in place in order to evaluate a creative process. The aim of this study is to critically reflect on a particular practical process, develop a language with which to structure improvisations, create the appropriate environment in which effective exploration can take place and finally deliver criticism on the process. This research study has a strong empirical component, focusing on my personal practice as a choreographer. This study also makes use of secondary source material that discusses the choreographic process in general, and more specifically the use of improvisation in choreography, with particular reference to the he theories and definitions of Michael Klien (2007) and Lavender and Predock-Linnell (2001), as and the choreographic innovations and methods of Merce Cunningham. Finally, this study makes use of primary source material, in the form of first-hand observations and personal interviews with a modern Physical Theatre Company, PUSH Physical Theatre Company in Rochester, NY, USA. Through the combination of the theories of Michael Klien (2007) and Lavender and Predock- Linnell (2001) both a philosophical and practical methodology develops and emerges. The results will show how the choreographic environment is engaged to not only simplify and shorten the choreographic process, but also to enhance it. The intangible energetic rapport between people, space and ideas can be harnessed as part of the process of choreography.
AFRIKAANSE OPSOMMING: Verskeie teorieë en metodologieë word tans binne die veld van choreografie ontwikkel. Onder andere gebruik een so ‘n teorie die individu en unieke deelnemers om beweging en bewegingsfrases te genereer. Vir die studente-choreograaf, wie tans nog in die proses is om ‘n kunstige stem te ontwikkel, is sekere merkers nodig om ‘n kreatiewe proses ten einde te evalueer. Die doel van hierdie studie is om krities oor ‘n spesifieke praktiese proses te reflekteer. Die proses behels die ontwikkeling van ‘n taal waarmee improvisasies gestruktureer kan word; om die gepaste omgewing te skep waarin effektiewe eksplorasie kan plaasvind en eindelik om kritiek oor die proses te lewer. Die navorsingstuk het ‘n sterk empiriese komponent wat meestal op ‘n persoonlike praktyk as choreograaf fokus. Hierdie studie maak van sekondêre material gebruik wat die choreografiese proses in die algemeen, en meer spesifiek, die gebruik van improvisasie in choreografie, bespreek. Daar word van die teorieë en definisies van Michael Klien (2007) en Lavender en Predock-Linnel (2001), sowel as die choreografiese inovasies en metodes van Merce Cunningham, melding gemaak. Derdens maak hierdie studie gebruik van primêre bronne in die vorm van eerste-handse observasies en persoonlike onderhoude met ‘n moderne Fisiese Teater geselskap, PUSH "Physical Theatre Company" in Rochester, New York, VSA. Deur die kombinasie van die teorieë van Klien en Predock-Linnell, word beide ‘n filosofiese en praktiese metodologie ontwikkel. Die resultate wys hoe die choreografiese omgewing aangewend word om beide die choreografiese proses te verkort en te versterk. Die verweefde energieke dinamiek tussen mense, spasie en idees kan gebruik word as deel van die proses van choreografie.
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LaViers, Amy. "Choreographic abstractions for style-based robotic motion." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/49033.
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What does it mean to do the disco? Or perform a cheerleading routine? Or move in a style appropriate for a given mode of human interaction? Answering these questions requires an interpretation of what differentiates two distinct movement styles and a method for parsing this difference into quantitative parameters. Furthermore, such an understanding of principles of style has applications in control, robotics, and dance theory. This thesis present a definition for “style of motion” that is rooted in dance theory, a framework for stylistic motion generation that separates basic movement ordering from its precise trajectory, and an inverse optimal control method for extracting these stylistic parameters from real data. On the part of generation, the processes of sequencing and scaling are modulated by the stylistic parameters enumerated: an automation that lists basic primary movements, sets which determine the final structure of the state machine that encodes allowable sequences, and weights in an optimal control problem that generates motions of the desired quality. This generation framework is demonstrated on a humanoid robotic platform for two distinct case studies – disco dancing and cheerleading. In order to extract the parameters that comprise the stylistic definition put forth, two inverse optimal control problems are posed and solved -- one to classify individual movements and one to segment longer movement sequences into smaller motion primitives. The motion of a real human leg (recorded via motion capture) is classified in an example. Thus, the contents of the thesis comprise a tool to produce and understand stylistic motion.
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Johnston, Molly. "Dance/Video Mashup as a Choreographic Process." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18320.
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This thesis document articulates the development of Dance/Video Mashup as a Choreographic Process. Prior to this movement thesis I determined a list of goals I would aim to achieve throughout the exploration of Dance/Video Mashup as a Choreographic Process. The goals aimed to develop a choreographic process that sampled movement from videos found online, create a website that documented the creative process of developing a screendance, realize an artistic need and develop clear guidelines for future choreographers.
This document narrates and evaluates the creative process of developing guidelines for Dance/Video Mashup and clearly articulates the guidelines for future researchers and choreographers. The supplemental file attached allows readers to view the screendance, Somniloquies, created through Dance/Video Mashup as a Choreographic Process.
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Seago, Catherine. "Evolving motion : examining flux in choreographic practice." Thesis, University of Winchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698200.
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The research which is embedded in this thesis through the dances and the context statement is about my experience of dancing and dance-making. During the process of making dances there is a sense of messiness in not knowing what is emerging. In the process of writing this document I have had to shift my experience in order to perceive the messiness and to reflect on how I work with it. The reflection on dance-making has enabled me to notice that the messiness arises from the tensions between the somatic, aesthetic, interpretive and inseparable experiences in performing, creating and receiving dance. This context statement tries to negotiate the messiness by examining my modes of engagement and the intensity of my focus through them over time. As a result the context statement reflects on the flow of change within these aspects of my practice and its impact on the aesthetic of the emergent work. A diagram has been designed to illustrate how unexpected occurrences happen through the continuously flowing change. This is referred to as flux. It happens through a moment of action, attention or connection. A ‘State of Dynamic Flux’ refers to my openness to flux within the flow of changes. This way of working allows unanticipated creative potentialities and produces an aesthetic that is characterised by live-ness.
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Shastri, Devdutt. "Dance of architecture : choreographic and architectural movement." Thesis, Cardiff University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584890.
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The aim of this thesis is to develop a theoretical framework that is based on the body and on the theme of Movement, for the analysis, interpretation and creation of Architecture. My research pro poses that Movement rather than Form may be the way forward for Architecture. A theory that is based on the experience and perception of Movement, requires a Movement-focused re-search of Architecture, and is furthered by examining the discipline that is primarily concerned with the design of human movement in space, namely Choreography. My central argument, therefore, is that there is sufficient commonality between the process of creating Architecture and that of Choreography to warrant examining principles of the latter, to advance our knowledge of the former. The term 'movement' can conjure different associations and so it is necessary to define the scope of the term as it pertains to the research at hand. This study identifies five treatments of Movement: Pictorially Affective, Literal, Animated, Choreographed and Ex pressed, which are subsets of three broad categories based on the movement of: 1 - people in space: P, A, C 2 - the building (actual) : L 3 - the building (implied) : E The thesis a) critiques the historiography of Architecture from a movement-themed perspective, and provides a brief over view of Choreographic theories about Movement, b) uses photographs, video and other digital media as tools to analyse both Architecture and dance Choreography, interpreting the treatment of Movement in Architecture, according to P/L/A/C/E and, lastly, c) the thesis explores a syncretic approach towards the making of a movement-based Architecture, informed by Choreography. Video capture and editing are among several methods explored in order to study the design of movement in an architectural con text, evidence of which is presented on an accompanying DVD.
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Andrijeski, Julie J. "A Survey of the Loure Through Definitions, Music, and Choreographies." Case Western Reserve University School of Graduate Studies / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=case1138130626.
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Lewis, Neil. "The climbing body : choreographing a history of modernity." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288878.
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Can, Chiu-Fai 1974. "Choreographic assemblages : an archaeology of movement and space." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/64915.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.Includes bibliographical references (leaves 101-111).
Time and movement always played a vital role in architecture, and it also takes significance in my work. This interest leads me to the investigation of choreography and dance notation in relation to space. By using notation, choreographers develop a general structure to document the accommodation of music, movements and patterns of a dance composition. A dance composition is an aesthetic entity existing in the four dimensions of space-time. Different styles of dance have different degrees of concern for the spatiotemporal symmetry of the body movements and the manipulation of abstract patterns. With Labanotation, choreographers are able to reduce a four-dimensional manifold to two dimensions - compression of the dimensionality by quantization. Notation structures movement in space, and divides the spatial hierarchy in sequences inducing the notion of time. It orchestrates the movement of body and senses through space. In essence, notation establishes a relationship among architecture, space and time as an entity. It becomes a narrative or form of memory that offers "the heterotopic space various past, multiple presents ... diverse future." (Michel Foucault: Heterotopic Space) Henceforth, it leads architecture to the realm of poetry (unconscious imagery). Architecture transfigures itself into the theater of memory, a sheer presence within space. "After the visual recognition of forms (body), one's mind struggles and attempts to reconstruct the vel}' meaning of space." (Maxine Sheets: The Phenomenology of Dance) This fusion of meaningful and meaningless, significant and accidental reinforces one's spatial experience and intimacy with architecture. Architects have always sought ways to express the similar notions. The architecture of kinaesthetic (Labanotation) offers the opportunity to mend the rupture between the theorization of architecture and its actualization. It allows vast latitude of experimentation and makes possible to conceive a more corresponding architecture. This engagement would make architecture more relevant to the bodily movement and the conceptions of space and time. It is possible to understand buildings as a resultant of a discourse possessing a structured system of representation. In its materiality, it is also a means of combining and preserving perceptions arising from within dissimilar ontological conditions. The method of analysis entails an identification of the kinaesthetic order of typological spatial conditions through a built object, using a composite protocol of analysis (e.g. Labanotation). This descriptive order prescribes the very meaning of spatio-temporality, and an insidious investigation allows a critique of conventional unities of spatial representation.
by Chiu-Fai Can
S.M.
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Brown, Katrina. "Intersect/surface/body : a choreographic view of drawing." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13394/.
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This practice-based research project explores how a choreographic view of a physicallyinformed drawing practice can serve to articulate and generate new understandings of material relations between moving bodies and static, receptor surfaces. Using task-based studies and other systematic structures of working that activate the horizontal plane of the floor, the research reveals how different configurations of relations between bodies, surfaces, and materials such as charcoal and paper, can mediate and extend a reciprocal touch between body and surface. Rather than on the production of finished artwork, emphasis is placed on processual activity and the working conditions from which material and visual residues emerge as evidential remains of reciprocal touch. The research is organised around the key terms intersect, surface, and body that operate as working concepts and facilitate a way of organising the observations and findings of the practical investigation into distinct areas of enquiry while recognising that these areas increasingly overlap and complicate one another. The thesis is extended through a critical engagement with ideas of non-human agency and materiality developed in the work of Harman (2013), Bennet (2010) and Barad (2013) and a reconsideration of horizontality through Steinberg’s notion of the ‘flatbed picture plane’ (1972) which informs a choreographic view of drawing in relation to orientation and surface distribution. The thesis is further contextualised through a consideration of the choreographic conditions presenting in performance works of choreographers Trisha Brown, La Ribot and Janine Antoni that extend across choreography and visual art contexts. The thesis aims to contribute to recent discourse in the field of choreography concerned with how a co-presence of human and non-human forces can be incorporated into choreographic processes and how drawing can present as choreographic knowledge through a consideration of material agency in approaches to performance-making.
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Blades, H. "Scoring dance : the ontological implications of 'choreographic objects'." Thesis, Coventry University, 2015. http://curve.coventry.ac.uk/open/items/200b5495-4d08-4228-8c53-2dda6fe53f1f/1.
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This PhD thesis examines the way in which spectatorial relationship with certain dance works is reconfigured through emerging practices for documenting, analysing and ‘scoring’ dance, paying particular attention to the role of digital technology. I examine three central case studies, developed between 2009 and 2013, which are outcomes of major research projects, these are; Synchronous Objects for One Flat Thing, reproduced (Forsythe and OSU 2009), Using the Sky (Hay and Motion Bank 2013) and A Choreographer’s Score: Fase, Rosas danst Rosas, Elena’s Aria, Bartók (De Keersmaeker and Cvejić 2012). These ‘scores’ fall under the title of ‘choreographic objects’, a term which, following Leach, deLahunta and Whatley (2008) I use to refer to collaboratively produced, artist-‐led objects that utilise technology in various ways, to explore and disseminate choreographic processes. Focussing on western contemporary theatre dance practices and drawing on discourses from Dance Studies, Performance Studies, Philosophical Aesthetics and Digital Theory, I consider how ‘choreographic objects’ pose philosophical questions regarding the ways in which audiences access, interpret, appreciate and value works, examining the evolving role of the score in issues of identity and ontology. I also consider the score-‐like nature of these objects, drawing comparisons with codified movement notations, such as Labanotation, developed by Hungarian dance theorist Rudolf von Laban (1879 – 1958). The case studies pose many queries, however the central focus of this research is on three key questions; what are ‘choreographic objects’? How do they reconfigure spectatorial engagement with specific dance works? And, how does this reconfiguration encourage a rethinking of their ontological statuses? The case studies demonstrate an increased interest in the articulation, examination and dissemination of choreographic process. In recent years many artists, based primarily in Europe and the USA, such as Siobhan Davies (1950 -‐ ), Anne Teresa De Keersmaeker (1960 -‐ ), William Forsythe (1949 -‐ ), Emio Greco (1965 -‐ ), Steve Paxton (1939 -‐ ); have teamed up with researchers and technologists to develop digital, or partially digital objects which examine and articulate their choreographic processes. deLahunta (2013b) suggests that together these artists give rise to a ‘community of practice’. This is a notion formulated by Etienne Wenger (1998) to describe groups of people who are engaged in collective learning, including, for example, “a band of artists seeking new forms of expression” (Wenger 2006: 1). The shared interest in cultivating new ways to express choreographic process generates a form of community between these artists. The objects generated through these investigations are labelled ‘scores’, ‘archives’ and ‘installations’, however, each one problematises their categorical label, thus generating the rubric of ‘choreographic objects’; an emerging class of object which both crosses and defies existing modes of description. The circulation of ‘choreographic objects’ is relatively new therefore a detailed examination of their ontology, function and impact provides a significant theoretical and practical contribution to current dance discourses and practice. This research contextualises these objects, situating them socio-‐culturally and examining the motivations and repercussions. The ontological probing considers the nature of the objects and their impact on the way we perceive and conceptualise the notion of the dance ‘work’.
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Elliot, Sundlin. "The Power of Choreographed Movement in The City." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-174441.
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