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Relevant bibliographies by topics / Dancing sea

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Academic literature on the topic 'Dancing sea'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Dancing sea"

1

Mackey. "Reading Brian Castro's Shanghai Dancing at the Bottom of the Sea." Antipodes 34, no. 1 (2020): 101. http://dx.doi.org/10.13110/antipodes.34.1.0101.

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Thurber, Andrew R., William J. Jones, and Kareen Schnabel. "Dancing for Food in the Deep Sea: Bacterial Farming by a New Species of Yeti Crab." PLoS ONE 6, no. 11 (November 30, 2011): e26243. http://dx.doi.org/10.1371/journal.pone.0026243.

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Schreiber, Sebastian J., Romuald N. Lipcius, Rochelle D. Seitz, and W. Chris Long. "Dancing between the devil and deep blue sea: the stabilizing effect of enemy-free and victimless sinks." Oikos 113, no. 1 (April 2006): 67–81. http://dx.doi.org/10.1111/j.0030-1299.2006.13773.x.

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Hajdú, Attila. "A szofista Kallistratos képei az Athamas-leírásban (Callistr. Stat. 14)." Antikvitás & Reneszánsz, no. 4 (December 1, 2019): 37–59. http://dx.doi.org/10.14232/antikren.2019.4.37-59.

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In his last ekphrasis, the sophist Callistratus gives a vivid depiction of Athamas driven by madness, when committing infanticide. He has already killed one of his sons, Learchus, and now the victim is the other one, Melicertes .To protect the child from her husband’s fury, Ino decides to commit suicide and throws herself into the sea together with Melicertes, where Amphitrite, the savage and terrifying creature awaits them with the Nereids dancing on the waves.The author refers to this work of art as a painting (eikón) that is presented somewhere far away on the coast of Scythia, and intends to demonstrate the beauties of the painting. At first, I present my Hungarian translation of the ekphrasis of Athamas, then I focus on the question of why Callistratus would conclude this imaginary tour with a description of a painting whereas he prefers verbalizing plastic art. Finally, I attempt to explore Greco-Roman visual culture elements that may have influenced this description.

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Alam, Meredian. "“Dancing with apocalypse”: The impacts of climate change on livelihood of Tuvalu - Polynesia / “Dançando com o apocalypse”: Os impactos das mudanças climáticas para subsistência em Tuvalu - Polinésia." Revista Brasileira de Planejamento e Desenvolvimento 6, no. 1 (January 9, 2017): 97. http://dx.doi.org/10.3895/rbpd.v6n1.5172.

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For community living in Least Developing Countries (LDC) climate change has imposed recent pressure on the locals. The impact it causes is also exacerbated by the inadequate infrastructure and regional policy in those countries. With the focus of interest in the case of Tuvalu, one of LDCs located in Western Oceania which clearly encounters rapid destruction due to climatic events, this paper presents the natural changes and living conditions of Tuvaluan inhabitants. Those calamities are caused predominantly by sea-level rise, warmer temperatures, unprecedented cyclones and contaminated water. Benchmarked with other small islands stretching across the Pacific Ocean, the finding demonstrates that Tuvalu has ignoredinternational concerns due to its critical situations that are causedby the government and local community members.

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Snowber, Celeste. "Dancesong." Dance, Movement & Spiritualities 7, no. 1-2 (November 1, 2020): 27–34. http://dx.doi.org/10.1386/dmas_00014_1.

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Dancesong is a reflective article that explores the author’s somatic and dance practice in times of isolation in a pandemic: walking, dancing and writing in sites in proximity to her home. On the edge of wild and urban landscapes as well as the inner landscape of fragility, she takes her feet walking as a way of opening up attention and exploring the intimacy of embodied ways of inquiry. Mud, sea, soil and flora become the terrain where these somatic and poetic reflections occur. In a collaboration with creation, the invitation is to respond to the moment through tiny dances and inhabiting the fullness of what it means to be present. As an arts-based researcher, this article is written in poetic and visceral language, honouring the relationship between language emerging from the breath and syntax of flesh and blood, bone and ligaments. Poetic language and poetry are central to responding to creation and being recreated as a way of articulating. Peppered through this short piece is poetry, images and videos of movement practices that evoke a call and response in creation. The reader is invited to open to the wisdom of embodied knowing and be recreated through their own somatic practices.

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Crunelle-Vanrigh, Anny. "Much Ado about Dancing." SEL Studies in English Literature 1500-1900 57, no. 2 (2017): 276–301. http://dx.doi.org/10.1353/sel.2017.0012.

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Strier, Karen B. "Dancing at the Dead Sea: Tracking the World's Environmental Hotspots. By Alanna Mitchell. Chicago (Illinois): University of Chicago Press. $25.00. 239 p; index. ISBN: 0–226– 53200–3. 2004." Quarterly Review of Biology 81, no. 1 (March 2006): 77. http://dx.doi.org/10.1086/503990.

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Thomas, Julia Adeney, Prasannan Parthasarathi, Rob Linrothe, Fa-ti Fan, Kenneth Pomeranz, and Amitav Ghosh. "JAS Round Table on Amitav Ghosh,The Great Derangement: Climate Change and the Unthinkable." Journal of Asian Studies 75, no. 4 (November 2016): 929–55. http://dx.doi.org/10.1017/s0021911816001121.

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Amitav Ghosh, perhaps Asia's most prominent living author, moves among many genres and across vast territories. His fiction—The Circle of Reason(1986),The Shadow Lines(1988),The Glass Place(2000),The Hungry Tide(2004), andThe Ibistrilogy—takes us from Calcutta where he was born in 1956 to the Arabian Sea, Paris, London, and back again to the Indian Ocean, the Bay of Bengal, and beyond. His nonfiction—In an Antique Land(1992),Dancing in Cambodia and at Large in Burma(1998), andCountdown(1999)—rests on a PhD in social anthropology from Oxford. He went to Alexandria, Egypt, for his dissertation research. His science fiction,The Calcutta Chromosome, won the Arthur C. Clarke Award in 1997. His essays—published inThe New Yorker, The New Republic, andThe New York Timesand collected inThe Iman and the Indian(2002)—address major issues such as fundamentalism. Indeed, most of his work addresses big questions, exploring the nature of communal violence, the traces of love and longing across generations, manifold religious manifestations, and the systematic pain of colonial oppression. The deep and abiding theme of many works is anthropogenic environmental damage, now boldly and directly addressed inThe Great Derangement: Climate Change and the Unthinkable(2016). Married to accomplished fellow author Deborah Baker, whose work traces the Asian peregrinations of Allen Ginsberg, the literary milieu of Laura Riding, and the complexity of Islamic conversion, Ghosh has taught at Harvard, Columbia, Queens College, and Delhi University. He has won more prizes and honorary doctorates, and been a fellow at more famous institutions and a distinguished visitor in more far-flung places, than you can shake a stick at. He even has two homes: Brooklyn and Goa. In short, Ghosh's profile makes you wonder if there might not be more than one of him.

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Lee, Seung-Ah. "Score One for the Dancing Girl, and Other Selections from the Kimun ch'onghwa: A Story Collection from Nineteenth-century Korea ed. by Ross King and Si Nae Park." Seoul Journal of Korean Studies 31, no. 1 (2018): 135–37. http://dx.doi.org/10.1353/seo.2018.0007.

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Dissertations / Theses on the topic "Dancing sea"

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Hýl, Petr. "Slovinské národní divadlo v Lublani." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.

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Books on the topic "Dancing sea"

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Dancing on the waves: [a wartime Wren at sea]. Little Hatherden, Near Andover: Benchmark Press, 2000.

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Mitchell, Alanna. Dancing at the Dead Sea: Tracking the world's environmental hotspots. Toronto: Key Porter Books, 2004.

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Matsen, Bradford. Planet ocean: A story of life, the sea, and dancing to the fossil record. Berkeley, CA: Ten Speed Press, 1994.

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4

Dancing the seas. London: Hodder Children's, 2002.

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5

Dirty dancing?: An ethnography of lap dancing. Abingdon: Willan Pub., 2010.

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6

Brown, Leah. Dancing with the wind. Greensboro, NC: Tudor Publishers, 2003.

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7

Rojas, Mario. El que sae, sae: Crónica personal de la Cueca Brava. Santiago, Chile: Ocho Libros Editores, 2012.

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8

Moylan, Terry. The pipers set and otherdances. 2nd ed. Dublin: Na Piobairi Uilleann, 1987.

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Moylan, Terry. The pipers set and other dances. 2nd ed. Dublin: Na Piobairi Uilleann, 1987.

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10

Dancing to different tunes: Sexuality and its misconceptions. Belfast: Blackstaff Press, 1996.

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Book chapters on the topic "Dancing sea"

1

Moreau, René. "The sea that we see dancing." In Air and Water, 141–63. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65215-3_6.

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Shay, Anthony. "Chapter 2 “Breaking Plates on the Plaka”: Zorba Dancing." In Ethno Identity Dance for Sex, Fun and Profit, 75–108. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59318-4_3.

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Shay, Anthony. "Chapter 5 Irish Dancing: “When Irish Feet Are Twinkling”." In Ethno Identity Dance for Sex, Fun and Profit, 179–204. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59318-4_6.

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Shay, Anthony. "Chapter 6 Dancing for the Nation: The Voloshky Ukrainian Dance Ensemble, The Duquesne University Tamburitzans, and the Gandy Dancers." In Ethno Identity Dance for Sex, Fun and Profit, 205–27. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59318-4_7.

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Uhlig, Anna. "Dancing on the Plain of the Sea." In Female Characters in Fragmentary Greek Tragedy, 105–24. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108861199.010.

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AIKEN, SÍOBHRA. "“SICK ON THE IRISH SEA, DANCING ACROSS THE ATLANTIC”:." In Women and the Decade of Commemorations, 88–106. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv1ghv4bd.9.

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Braund, David. "Epilogue: Dancing around the Black Sea: Xenophon, Pseudo-Scymnus and Lucian’s Bacchants." In Ancient Theatre and Performance Culture Around the Black Sea, 470–89. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316756621.022.

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Donnan, Hastings, and Fiona Magowan. "Dancing Desires." In The Anthropology of Sex, 49–69. Routledge, 2020. http://dx.doi.org/10.4324/9781003086871-3.

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"The ‘problem of tabletop dancing’." In Policing Sex, 157–73. Routledge, 2012. http://dx.doi.org/10.4324/9780203120736-19.

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Bellaviti, Sean. "Early Música Típica and Its Antecedents." In Música Típica, 57–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936464.003.0003.

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Chapter 2 examines música típica’s antecedents in Panama’s Azuero peninsula during a period of great social change. Focusing on developments in areas of musical sound and all the practices that surround large rural dances called bailes, this chapter reveals how the evolution of this music was shaped by the peninsula’s geography, its evolving economic structure and labor relations, and, most of all, the musical preferences of performing musicians and their fans, the dancing baile-goers. In sharp contrast to the Panamanian folklorists’ romantic portrayals of their rural compatriots as untouched by modernization, this chapter outlines a history that makes clear that in terms of their musical interests and dance preferences, Azuerenses were not too dissimilar from their urban counterparts. Moreover, whether in terms of the social imperatives that led to the baile’s emergence as the foremost occasion for broad-based community participation or the seamless elision of themes of romantic love, nostalgia, and the pain of physical separation, this chapter shows that many of música típica’s most compelling, widely-embraced, and distinctive features were firmly established well before the sea changes brought about by the genre’s eventual commercialization.

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Conference papers on the topic "Dancing sea"

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Asahina, Wakana, Narumi Okada, Naoya Iwamoto, Taro Masuda, Tsukasa Fukusato, and Shigeo Morishima. "Automatic facial animation generation system of dancing characters considering emotion in dance and music." In SA'15: SIGGRAPH Asia 2015. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2820926.2820935.

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Rigo, H. Gregor. "Dancing the Emissions Limitation Limbo: How Low Dare You Go?" In 10th Annual North American Waste-to-Energy Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/nawtec10-1022.

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After promulgation of the New Source Performance Standards (NSPS) and Emissions Guidelines (EG) for Large and Small Municipal Waste Combustors (MWCs), the Environmental Protection Agency (EPA) entered a new regulatory arena – regulating the remaining risks to public health and the environment after Maximum Available Control Technology (MACT) is applied. The residual risk from MWCs is expected to be negligible; however, the public, and some state and local regulators are now looking for ways to assure continuation of the exemplary emissions performance being measured at many of these retrofit sources. Hence, the question now becomes: how low can an achievable emissions limitation be? Confidence should not be placed in a source’s ability to continually meet the low emissions limitations embodied in the MWC EGs and NSPSs. Contrary to assertions in the Response to Comments for the Small MWC regulations [1], the Environmental Protection Agency could not have properly considered and incorporated measurement uncertainty into its dioxin guidelines; no one knew the uncertainty of total dioxin measurements above 28 ng/dsm3 corrected to 7 percent O2 until 2001 when the work supporting this paper was performed. When the 13 ng/dsm3 corrected to 7 percent O2 NSPS for MWCs was developed, the data needed to determine measurement uncertainty of most Section 129 pollutants had not even been collected. Further, asserting that the data used to derive the NSPS emissions limitations include measurement error, and therefore, any data-derived emissions limitations inherently consider that error, is only true if the measurement error is much smaller (say less than 10 percent) than the short and long term variations in emissions performance. Beginning with a set of three total dioxin measurements that averaged 4 ng/dsm3 corrected to 7 percent O2, the emissions limitation meeting the 95 percent statistical confidence level criterion underlying many NSPS, is almost 15 ng/dsm3 corrected to 7 percent O2. If the statistical criterion is changed to inclusion of “almost all” the expected results when these facilities continue to emit as they did during the original data acquisition, the emissions limitation becomes almost 18 ng/dsm3 corrected to 7 percent O2. Consequently, sources must not agree to standards that do not properly consider measurement method precision if they want to avoid exceedances when everything is working properly.

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Vatutin, E., N. Nikitina, A. Belyshev, and M. Manzyuk. "On polynomial reduction of problems based on diagonal Latin squares to the exact cover problem." In The International Workshop on Information, Computation, and Control Systems for Distributed Environments. Crossref, 2020. http://dx.doi.org/10.47350/iccs-de.2020.26.

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The paper discusses the reduction of problems based on Latin squares to the exact cover problem aiming at its subsequent solution using the dancing links algorithm. The former problems include generation of Latin squares and diagonal Latin squares of a general form/with a given normalization, generation of orthogonal Latin and diagonal Latin squares directly/through the set of transversals, obtaining a set of transversals for a given square, forming a subset of disjoint transversals. For each subproblem, we describe in detail the process of forming the corresponding binary coverage matrices. We show that the use of the proposed approach in comparison with the classical one, i.e. the formation of sets of transversals and their coverages using exhaustive enumeration, allows one to increase the eective processing pace of diagonal Latin squares by 2.5{5.6 times. The developed software implementations of the algorithms are used in computational experiments as part of the Gerasim@Home volunteer distributed computing project on the BOINC platform

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Shilpiekandula, Vijay, and Yun Seong Song. "A Music-Based Mechatronic System for Teaching Modeling and Control." In ASME 2008 International Mechanical Engineering Congress and Exposition. ASMEDC, 2008. http://dx.doi.org/10.1115/imece2008-66817.

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Audio-based tools can enhance the learning experience in introductory modeling and control classes at the undergraduate (sophomore) level in the mechanical engineering curriculum. An example audio-based learning tool that we propose is the “FlexSynth,” a servo-actuated flexural rocker arm that sways to an electronically generated music. We have built and tested the FlexSynth as part of a project under the MIT advanced graduate subject 2.737 Mechatronics class offered in Fall 2007. The angular range of the rocking motion of the flexural arm in the FlexSynth is mapped to a set of musical notes. While the flexural rocker swayed to the generated ‘command’ music, its motion is also converted into an equivalent ‘response’ music. Two speakers are used, one to play the commanded music and the other to play the response music. The performance of control algorithms (such as proportional or proportional-integral control) can be discerned from the command and response music, and compared for better musical quality. The appeal of an electromechanical system, driven by music and controlled to see the ‘dancing’ flexural rocker, makes the overall system an interesting show-and-tell for young kids or the public at large, getting them excited about science and engineering automation. Advanced control issues such as filtering of flexural damping modes of the rocker can also be addressed with this system implementation. Advanced students in the controls area can study the design tradeoffs between robustness and speed in following the command music. While the usual debugging tools such as multimeters, oscilloscopes, and dynamic signal analyzers allow for hands-on learning about the performance of a control system, an audio-based unit such as the FlexSynth can be a valuable addition to the innovative teaching tool kit.

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Martell, Janice L., Arya Ebrahimpour, and Marco P. Schoen. "Intelligent Approach to Floor Vibration Control." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-80037.

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Genetic Algorithms (GAs) have been used to solve a multiple of engineering problems with the civil engineering applications ranging from optimal placement of sensors and actuators on structures to pipeline layouts. GAs are especially useful in finding optimal solutions to problems that have many parameters with complex search spaces and a high level of interaction among the describing parameters. The novel experimental control approach presented in this paper uses a GA and a piezoelectric actuator to control the vibration of an aluminum cantilever beam. This set-up is based on a floor vibration problem, where the human perception of vibration dictates the sensitivities in the cost function of the GA. Lightweight floors can be excited by occupant activities such as walking, jumping and dancing. Humans are especially sensitive to vibrations in the range of 4 to 8 Hz. The occupancy of a floor system — whether the floor is used in an office, a shopping mall, or a ballroom — determines the degree to which humans are annoyed by the vibration. In this paper, the GA based control limits the peak acceleration within a predefined bandwidth. Since the cantilever beam has a higher natural frequency than a lightweight floor system a bandwidth of approximately 1.6–15.9 Hz (10–100 rad/s) is used as the frequency range to control. The control to be designed will be a genetic algorithm-robust controller. The analytical results indicate that this novel approach works well.

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