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Journal articles on the topic 'Site-specific dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Chung, EunJu. "A Study on the Type of Site-Specific Dance Performance : Focusing on the Concept of Site of Post-Modern Dance." Journal of Dance Society for Documentation & History 60 (March 31, 2021): 269–88. http://dx.doi.org/10.26861/sddh.2021.60.269.

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2

Barbour, Karen, and Alexandra Hitchmough. "Experiencing affect through site-specific dance." Emotion, Space and Society 12 (August 2014): 63–72. http://dx.doi.org/10.1016/j.emospa.2013.11.004.

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Supendi, Eko, and Satriana Didiek Isnanta. "STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS”." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (2020): 33–43. http://dx.doi.org/10.33153/acy.v12i1.3140.

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ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited t

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4

Hunter, Victoria. "Embodying the Site: the Here and Now in Site-Specific Dance Performance." New Theatre Quarterly 21, no. 4 (2005): 367–81. http://dx.doi.org/10.1017/s0266464x05000230.

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In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between

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Hunter, Victoria. "Spatial Translation and ‘Present-ness’ in Site-Specific Dance Performance." New Theatre Quarterly 27, no. 1 (2011): 28–40. http://dx.doi.org/10.1017/s0266464x11000030.

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In this article Victoria Hunter considers notions of spatial translation, ‘present-ness’, and ‘embodied reflexivity’ within site-specific dance performance. Through a discussion of the author's site-specific dance installation entitled Project 3, she explores choreographic processes that aimed to facilitate, transform, and heighten the lived experience of site by the performer and the audience through phenomenologically informed movement inquiry. Forming part of the author's practice-led PhD investigation into the relationship between the site and the creative process, the performance was the

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6

Kloetzel, Melanie. "Site-Specific Dance in a Corporate Landscape." New Theatre Quarterly 26, no. 2 (2010): 133–44. http://dx.doi.org/10.1017/s0266464x10000278.

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Site-specific performance relies on the terms space and place as markers for discussing a performance's engagement with a site. However, practitioners and researchers are often disgruntled by the limitations such terms impose upon site-specific performance – as was Melanie Kloetzel, in the creation of The Sanitastics, a site-specific dance film created in the Calgary Walkway System. In this article, Kloetzel examines how theorists have struggled with space and place in the last four decades and how bringing in the perspective of the body allows us to reassess our assumptions about these terms.

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Coleman, Lucinda. "Performing Water: Site-specific dance-making as liquid art." Choreographic Practices 11, no. 1 (2020): 101–22. http://dx.doi.org/10.1386/chor_00014_1.

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The Remnant Dance Project, Culaccini, developed site-specific dance movement in response to the waters of the Taleggio Valley, Italy, during the Nature, Art and Habitat Residency (NAHR) (2018). The intention was to respond to the Enna River system through documenting dance movement made in the region via film, photography and reflective writing. The practice-led research process was shared on the daily blog, ‘The drop of the day’. At the close of the NAHR, a short dance film, Performing Water, was made to further interrogate the nature of site-specific dance-making in water and the notion of w

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Katrak, Ketu H. "Jay Pather Reimagining Site-Specific Cartographies of Belonging." Dance Research Journal 50, no. 2 (2018): 31–44. http://dx.doi.org/10.1017/s0149767718000219.

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This essay examines Jay Pather's site-specific workCityscapes(2002) within a theoretical discussion of the conjuncture and disjuncture of space and race in South Africa. Jay Pather, a South African of Indian ancestry, an innovative choreographer and curator of site-specific works, creatively uses space to inspire social change by providing access and challenging exclusions—social, cultural, political—of black and colored South Africans during apartheid (1948–1994) and after. A progressive vision underlies his avant-garde work expressed via a hybrid choreographic palette of South African classi

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9

Kuppers, Petra. "Dancing Material History: Site-Specific Performance in Michigan." TDR/The Drama Review 61, no. 3 (2017): 132–40. http://dx.doi.org/10.1162/dram_a_00677.

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Site-specific dance in and by Northern Michigan lakes brings Petra Kuppers experientially into a different relation to environmental materiality. Autoethnographic method merges with an attention to the materiality of art practice and the difference dance makes. It beckons: let’s merge. Dancing bodyminds in space, in change, in time. Disability, precarity, economy, indigenous and settler history. Breathe in and out with the pull of edge land, the beach, the calmness of Michigan summer lakes.

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10

MacBean, Arianne. "Site-Specific Dance: Promoting Social Awareness in Choreography." Journal of Dance Education 4, no. 3 (2004): 97–99. http://dx.doi.org/10.1080/15290824.2004.10387265.

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11

Harrington, Heather. "«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia." Nordic Journal of Dance 8, no. 2 (2017): 54–69. http://dx.doi.org/10.2478/njd-2017-0012.

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Abstract How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer,

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12

Kloetzel, Melanie. "Site and Re-Site: Early Efforts to Serialize Site Dance." Dance Research Journal 49, no. 1 (2017): 6–23. http://dx.doi.org/10.1017/s0149767717000018.

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In this article, I investigate the historical precedents of site-adaptive dance. After walking through the mobility discourse as applied to site-specific art by such scholars as Miwon Kwon, Fiona Wilkie, and Victoria Hunter, I examine the mobile site works of North American choreographers Ann Carlson, PearsonWidrig DanceTheater, Eiko & Koma, and Stephan Koplowitz as exemplary of early attempts to take site dance on tour. Finally, I argue for the value of employing the lens of adaptation to analyze such works, both for the field of site performance and for the larger cross-disciplinary dial

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Mullis, Eric C. "Dancing for Human Rights: Engaging Labor Rights and Social Remembrance in Poor Mouth." Dance Research 34, no. 2 (2016): 220–42. http://dx.doi.org/10.3366/drs.2016.0160.

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There is a tradition of dance artists developing work for the concert stage in order to engage pressing social justice issues and, more specifically, the abuse of human rights. Anna Sokolow's Strange American Funeral (1935), Pearl Primus' Strange Fruit (1945), Katherine Dunham's Southland (1951), Alvin Ailey's Masekela Langage (1969), Jawole Willa Jo Zollar's Womb Wars (1992), William Forsythe's Human Writes (2005), and Douglas Wright's Black Milk (2006) are examples of acclaimed dances that address the manner in which marginalized individuals and social groups have not been granted equal ethi

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Han, Jung-Mi. "A Study on the Expansion of Public Art to Dance -Based on Site Specific Dance Performance." Dance Research Journal of Dance 78, no. 3 (2020): 217–30. http://dx.doi.org/10.21317/ksd.78.3.12.

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Biehl-Missal, Brigitte. "Filling the ‘empty space’: Site-specific dance in a techno club." Culture and Organization 25, no. 1 (2016): 16–31. http://dx.doi.org/10.1080/14759551.2016.1206547.

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Hunter, Victoria. "‘Moving Sites’: Transformation and Re-location in Site-specific Dance Performance." Contemporary Theatre Review 22, no. 2 (2012): 259–66. http://dx.doi.org/10.1080/10486801.2012.666740.

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Munjee, Tara. "Embodied Place: Variations of Spatial Engagement in Site-Specific Contemporary Dance Choreography." Spaces and Flows: An International Journal of Urban and ExtraUrban Studies 1, no. 4 (2012): 1–8. http://dx.doi.org/10.18848/2154-8676/cgp/v01i04/53817.

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Sortland, Venke Marie, and Ina Coll Kjølmoen. "Landing - dansekunstnere med stedssans." Nordic Journal of Dance 2, no. 1 (2011): 2–7. http://dx.doi.org/10.2478/njd-2011-0002.

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Abstract The performance group Landing was established in 2005 by 11 dance and performing artists, with an artistic vision to create site-specific dance projects. In 2008 Landing created an extensive site-specific project at the fully running St Olavs Hospital in Trondheim that was entitled Landing08. In this article we will share some of our experiences of this project. In 2010 Landing was reorganized into a production unit lead by us. Our aim is to initiate, produce, and support art projects that challenge target groups, sites and formats of presentation.

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19

Snowber, Celeste. "Dancers of Incarnation." Thème 25, no. 1 (2019): 125–38. http://dx.doi.org/10.7202/1055243ar.

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In poetic, sensuous and visceral language this article explores how one liturgical dance artist, whose work as a dancer and educator was centered in dance and theology for decades was informed by an incarnational theology to break open a field of embodied inquiry now situated outside the field of theological studies. The article is in itself a dance consisting of five movements which trace the journey of a liturgical dance artist from theology to doxology, embodied prayer and embodied inquiry to dancing in nature as a cathedral. Here in creating and performing site-specific work in the natural

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Munjee, Tara. "Appreciating “Thirdspace”: An Alternative Way of Viewing and Valuing Site-Specific Dance Performance." Journal of Dance Education 14, no. 4 (2014): 130–35. http://dx.doi.org/10.1080/15290824.2013.879986.

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21

Da Silva, Aila Regina. "O corpo mediador: dança e mediação no museu." Repertório, no. 28 (December 5, 2017): 390. http://dx.doi.org/10.9771/r.v0i28.25018.

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<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">De um simples piscar de olhos a um pulo, a dança traz ao ser humano novos meios de conectar-se consigo e com o espaço a sua volta. Este artigo é um estudo sobre as relações da mediação com dança em comparação aos processos do <em>site specific</em> e performance, como produtos indiretos da experiência mediativa. Recorte da pesquisa de mestrado <em>Proibido tocar, permitido dançar: dança e mediação no museu de arte contemporânea</em>, que submete um grupo hete

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22

Lim, su-jeong. "An attempt and effect of region characterization through a ‘site specific’ performance : Based on the Site-Specific Dance Performance 〈existence〉 performed in Soje-dong." Humanities Contens, no. 41 (June 30, 2016): 153. http://dx.doi.org/10.18658/humancon.2016.06.41.153.

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23

Kwon. "“Becoming One”: Embodying Korean P’ungmul Percussion Band Music and Dance through Site-Specific Intermodal Transmission." Ethnomusicology 59, no. 1 (2015): 31. http://dx.doi.org/10.5406/ethnomusicology.59.1.0031.

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Kukkonen, Aino. "Rural and urban encounters in Reijo Kela's choreographies "Ilmari's Ploughed Field" (1988) and "Cityman" (1989)." Nordic Theatre Studies 28, no. 1 (2016): 64. http://dx.doi.org/10.7146/nts.v28i1.23973.

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Since the early 1980s, the solo performances of Reijo Kela (b. 1952) have brought original perspectives to Finnish dance, particularly in terms of how he wanted to dance in close proximity to the spectator and how the lines between art-forms were blurred. In his first large-scale site-specific works, Ilmari's Ploughed Field (Ilmarin kynnös, 1988) and Cityman (1989), he dealt with the relationship between dance, site, and changing Finnish society. They occurred in the heart of rural and urban life: one, in an abandoned field in Suomussalmi Eastern Finland and the other, in the busiest shopping

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Edensor, Tim, and Caitlan Bowdler. "Site-Specific Dance: Revealing and Contesting the Ludic Qualities, Everyday Rhythms, and Embodied Habits of Place." Environment and Planning A: Economy and Space 47, no. 3 (2015): 709–26. http://dx.doi.org/10.1068/a140042p.

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McNeilly, Jodie. "Bodily Schemata and Sartre's I and Me: Reflection and Awareness in Movement." Performance Philosophy 2, no. 1 (2016): 83. http://dx.doi.org/10.21476/pp.2016.2190.

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Philosophers have faced the problem of self or inner awareness since the self, itself, became something to be known and/or understood. Once dancers ‘let go of the mirror’ (Emily Claid 2006) they too began to face the problem and limits to bodily awareness, developing specific reflective practices to obtain access to their inner bodily selves. But for the phenomenologist, reflection requires an active process of perception, which problematises our grasping of the so-called hidden, organising structures of movement that are unable to be perceived (bodily schemata). For the dancer, then, how is i

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Quinlan, Meghan. "Abstractions of Whiteness in Downtown Los Angeles: Ate9’s Kelev Lavan." TDR/The Drama Review 60, no. 3 (2016): 171–77. http://dx.doi.org/10.1162/dram_a_00578.

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Ate9 Dance Company’s Kelev Lavan raised questions about the politics of individualism and the neutrality of whiteness in art, during a period of acute social tension surrounding police violence against people of color in the US. Issues of technique, aesthetics, and the invisibilization of identity politics are explored in the context of this site-specific performance.

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AMES, MARGARET. "Dancing Place/Disability." Theatre Research International 40, no. 2 (2015): 170–85. http://dx.doi.org/10.1017/s0307883315000048.

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This article is developed from a paper presented at IFTR as part of the Performance and Disability Working Group in summer 2013. The work considered is a practice-as-research contribution by Welsh dance theatre company Cyrff Ystwyth towards a large Arts and Humanities Research Council-funded enquiry into performance, place, dislocation and vulnerability. The article uses contrasting concepts drawn from the work of critical theorists and dance scholars André Lepecki and Carrie Noland to think about the implications of Cyrff Ystwyth's site-specific performance authored by choreographer Adrian Jo

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Leonhardmair, Teresa. "Leiturgía – Ort der musiké: Plädoyer für eine Perspektive auf Kirchen-Musik als heteromodales Ereignis." Review of Ecumenical Studies Sibiu 7, no. 3 (2015): 422–40. http://dx.doi.org/10.1515/ress-2015-0031.

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The meaning of music exceeds the mere acoustic noise. Liturgy clarifies that fact. Focusing aesthetic modes music is considered as defined by the ancient Greek term musiké, back then the union of movement/dance, sound, poetry. As performance musiké correlates with liturgy (performance as well) in a special way. The bodily and transcendent dimensions of musiké arise in liturgy – something performative, i.e. evolving from doing. Liturgy and music are connected with bodily presence (incarnation) and movement – the fundament of life. Both corporal actions and expressive dance in liturgy exist as a

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Han, Jung-mi, and Kwan-jung Son. "A Study on the Characteristics of Site-specific Dance Performance in Contemporary Art - Focused on the work of Stephan Koplowitz -." Dance Research Journal of Dance 77, no. 3 (2019): 167–83. http://dx.doi.org/10.21317/ksd.77.3.9.

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Munn, Matthew Brendan, Adam Lund, Riley Golby, and Sheila A. Turris. "Observed Benefits to On-site Medical Services during an Annual 5-day Electronic Dance Music Event with Harm Reduction Services." Prehospital and Disaster Medicine 31, no. 2 (2016): 228–34. http://dx.doi.org/10.1017/s1049023x16000054.

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AbstractBackgroundWith increasing attendance and media attention, large-scale electronic dance music events (EDMEs) are a subset of mass gatherings that have a unique risk profile for attendees and promoters. Shambhala Music Festival (Canada) is a multi-day event in a rural setting with a recognized history of providing harm reduction (HR) services alongside medical care.Study/ObjectiveThis manuscript describes the medical response at a multi-day electronic music festival where on-site HR interventions and dedicated medical care are delivered as parallel public health measures.MethodsThis stud

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Guo, Ying, and Xupeng Wang. "A Spatiotemporal data acquisition and processing method for Ansai waist drum based on motion capture." E3S Web of Conferences 179 (2020): 01024. http://dx.doi.org/10.1051/e3sconf/202017901024.

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In order to effectively promote the inheritance and preservation of the intangible cultural heritage project-Ansai waist drum. Based on motion capture systems, a spatiotemporal data acquisition and processing method is introduced in this works, which contains principles and specific methods for data acquisition and processing. Take a typical action as an example, the method is presented seriously, which refers to acquisition site, motion capture equipment, real-time acquisition, data output, post-processing software, as well as skeleton and excel data processing. Furthermore, the canonical mot

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Fraga, Tania. "MindFluctuations: Poetic, Aesthetic and Technical Considerations of a Dance Spectacle Exploring Neural Connections." TecnoLógicas 21, no. 41 (2018): 81–102. http://dx.doi.org/10.22430/22565337.728.

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In this era of co-evolution of humans and computers, we are witnessing a lot of fear that humanity will lose control and autonomy. This is a possibility. Another is the development of symbiotic systems among men and machines. To accomplish this goal, it is necessary to research ways to apply some key concepts that have a catalytic effect over such ideas. In the discussion of this hypothesis through the case study of the spectacle MindFluctuations— an experimental artwork exploring neural connections—we are looking for ways to develop them from conception to realization. The discussion also est

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Fraleigh, Sondra. "Everyone needs to breathe." Dance, Movement & Spiritualities 7, no. 1-2 (2020): 119–38. http://dx.doi.org/10.1386/dmas_00020_1.

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This article is written with an eye towards the future and a foot in the past. It is partly autobiographical, and in each of four parts offers reflective somatic practices. The author is sheltering at home, so her thoughts centre on the meaning of home, family and pets. At the same time, she articulates somatic skills to cultivate embodied presence, insightful verbal interactions and healing touch. Her writing invites readers into somatic movement explorations and somatic communication practices through poetry. Life and death, love and war, ground her article. The section on Simbi involves glo

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Bennell, Kim, Karim Khan, Bernadette Matthews, et al. "Activity-Associated Differences in Bone Mineral Are Evident before Puberty: A Cross-Sectional Study of 130 Female Novice Dancers and Controls." Pediatric Exercise Science 12, no. 4 (2000): 371–81. http://dx.doi.org/10.1123/pes.12.4.371.

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It is not clear at what age or maturational stage physical activity is most effective in optimizing peak bone mass in girls. We compared bone mineral of 78 pre- and early-pubertal novice female ballet dancers (mean age, 9.6 years, SD, 0.8) with that of 52 age-matched controls. Dancers had 4.5% greater total hip bone mineral density (BMD) and 4.9% greater femoral neck BMD (both p < .01) than controls. BMD at the lumbar spine and upper and lower limbs was similar between groups. These findings could not be explained by maturity, size, body composition, or dietary calcium intake differences be

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Mangold, Alex. "Failure, Trauma, and the Theatre of Negativity: the New Tragic in Contemporary Theatre and Performance." New Theatre Quarterly 35, no. 1 (2019): 33–43. http://dx.doi.org/10.1017/s0266464x18000593.

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In this article, Alex Mangold identifies failure as a defining element of tragedy and argues that traditional understandings of the genre have been too narrow. Here, he asserts that tragic failure contributes to a tragic ‘mode’ that transcends genre definitions and, instead, extends to all kinds of contemporary theatre and performance. Examining a wide range of performance examples, including work from Sophocles to Sarah Kane, Forced Entertainment, Sasha Waltz, and Orlan, he argues that tragic failure, as it has come to be realized in examples of postdramatic writing and in site-specific or da

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Haravon, Leslie D. "Exercises in Empowerment: Toward a Feminist Aerobic Pedagogy." Women in Sport and Physical Activity Journal 4, no. 2 (1995): 23–44. http://dx.doi.org/10.1123/wspaj.4.2.23.

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The current popularity of aerobic dance exercise makes it an important site for the analysis of women and movement. Feminist researchers have critiqued aerobics as an activity which does more to maintain dominant ideologies of women’s powerlessness than it does to liberate women through movement and action (Kagan & Morse, 1988; MacNeil, 1988; Theberge, 1985, 1987) whereas, based upon psychological studies, a participation in aerobics has been shown to improve self-esteem (Labbe, Welsh, & Delaney, 1988; Plummer & Young, 1987; Skrinar, Bullen, Cheek, McArthur, & Vaughan, 1986). O

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Wright, Jan, and Shoshana Dreyfus. "Belly Dancing: A Feminist Project?" Women in Sport and Physical Activity Journal 7, no. 2 (1998): 95–114. http://dx.doi.org/10.1123/wspaj.7.2.95.

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The notion of the body as “a medium of culture” (Bordo, 1990, p. 13), and specifically the female body as a site on which the oppression of patriarchy is inscribed or played out has been discussed by many feminist theorists (Bartky, 1988; Bordo, 1990; Dimen, 1989). More recently there has been increasing interest in the material body as a source of kinesthetic pleasure rather than, or simultaneously as, a site of inscription and oppression. In searching for new ways to think and talk about the body, there is a recognition that it cannot be seen simply as either a site of oppression or pleasure

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Krul, Jan, Björn Sanou, Eleonara L. Swart, and Armand R. J. Girbes. "Medical Care at Mass Gatherings: Emergency Medical Services at Large-Scale Rave Events." Prehospital and Disaster Medicine 27, no. 1 (2012): 71–74. http://dx.doi.org/10.1017/s1049023x12000271.

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AbstractObjective: The objective of this study was to develop comprehensive guidelines for medical care during mass gatherings based on the experience of providing medical support during rave parties.Methods: Study design was a prospective, observational study of self-referred patients who reported to First Aid Stations (FASs) during Dutch rave parties. All users of medical care were registered on an existing standard questionnaire. Health problems were categorized as medical, trauma, psychological, or miscellaneous. Severity was assessed based on the Emergency Severity Index. Qualified nurses

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Wanke, Eileen M., Michael Arendt, Helmgard Mill, et al. "The Theatrical Stage as Accident Site in Professional Dance." Medical Problems of Performing Artists 29, no. 1 (2014): 32–36. http://dx.doi.org/10.21091/mppa.2014.1008.

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OBJECTIVE: Reducing work-related health hazards at the different theatre workplaces is one aspect of preventive options in professional dance. This also applies to hazards on the highly variable theatrical stage areas. However, detailed information on these stages and their risks is not available. The aim of this study was to analyze and evaluate work-related traumatic injuries in the stage area. METHODS: The basis for the evaluation was accident reports, from the German National Statutory Insurance, of work-related traumatic injuries occurring on stage in professional dancers (n=790: 407 male

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Premelč, Jerneja, Goran Vučković, Nic James, and Lygeri Dimitriou. "A Retrospective Investigation on Age and Gender Differences of Injuries in DanceSport." International Journal of Environmental Research and Public Health 16, no. 21 (2019): 4164. http://dx.doi.org/10.3390/ijerph16214164.

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In spite of the extensive research on incidence site and type of injury in ballet and modern dancers, limited studies on injury in DanceSport have been reported. Therefore, this study determined retrospectively (within last 12 months) incidence, severity, site and type of injury, between gender and age-class in DanceSport. Participants were 97 international sport-dancers (female, 41; male, 56). Sixty-six (69%) dancers reported 96 injuries (1.00 (range = 4)) injuries per dancer) and an injury incidence of 1.7 (range = 14) per 1000 h. Females revealed significantly higher median injury incidence

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Sanfilippo, G., A. Mondello, F. M. La Russa, and L. La Rosa. "INTEGRATED METHODS FOR THE CONSERVATION AND RESTORATION OF ARCHAEOLOGICAL SITES. AN EXPERIMENTAL APPLICATION ON THE “BALNEUM” OF PIAZZA DANTE IN CATANIA (ITALY)." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 661–68. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-661-2021.

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Abstract. Archaeological sites in urban areas are often poorly integrated with the modern urban fabric and appear as “trenches” at a lower level than the road. They become neglected and unvalued places. The study of archaeological ruins in urban centres must involve archaeologists and architects to integrate restoration, enhancement and improvement of physical and visual accessibility projects. New digital technologies can improve these activities thanks to 3D models, “digital replicas” that allow even remote study (especially during a pandemic). The paper presents the case study of a private

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Bogucki, Mateusz. "O fragmentaryzacji srebra wczesnośredniowiecznego: na ile wiarygodne są dane metrologiczne? Przypadek skarbu z Mózgowa na Warmii (t.p.q. 1009)." Slavia Antiqua. Rocznik poświęcony starożytnościom słowiańskim, no. 60 (January 1, 2020): 221–38. http://dx.doi.org/10.14746/sa.2019.60.8.

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For years, a discussion has been held about the circulation of silver in the early Middle Ages and the role played by fragments of coins and ornaments. This multi-faceted discussion has also revolved around the function of the smallest fragments. Metrological research has indicated certain regularities in the incidence of fragments of a specified weight depending on region and chronology. New data for this discussion was provided by a treasure trove originally discovered in 1868 in Mózgowo in Warmia. Only slightly more than 400 coins have survived from the items discovered in the 19th century;

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Minasny, Budiman, and Alex B. McBratney. "Evaluation and development of hydraulic conductivity pedotransfer functions for Australian soil." Soil Research 38, no. 4 (2000): 905. http://dx.doi.org/10.1071/sr99110.

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Pedotransfer functions (PTFs) for predicting saturated hydraulic conductivity (Ks) were evaluated using published Australian soil data sets. Eight published PTFs were evaluated. Generally, published PTFs provide a satisfactory estimation of Ks depending on the spatial scale and accuracy of prediction. Several PTFs were developed in this study, including the power function of effective porosity, multiple linear regression, fractal model, and artificial neural networks. Different methods for estimating the fractal dimension of particle-size distributions showed no significant differences in pred

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Farajova, Malahat N. "THE OVCHULAR SHELTER ON THE UPPER TERRACE OF MOUNTAIN BEYUKDASH." History, Archeology and Ethnography of the Caucasus 15, no. 3 (2019): 471–85. http://dx.doi.org/10.32653/ch153471-485.

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Gobustan is a rich archaeological area where people lived at different period, thousands of rock paintings, dozens of sites, settlements, tombs and other monuments of different historical periods have preserved. Ovchular shelter takes a special place among these caves, which is date back to the Stone and Bronze ages, approximately before VI-IV Millenniums B.C. according to some archeologists. Hence, the question of study of rock images of this complex with using geological and archaeological data for reconstruction the archaeological landscape of upper terrace of Boyukdash Mountain is ex

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Holand, Øystein, Anders Aa Ims, and Robert B. Weladji. "Scale-dependent effects of summer density on autumn mass in reindeer." Rangifer 30, no. 1 (2010): 15–29. http://dx.doi.org/10.7557/2.30.1.248.

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The ongoing dispute about reindeer overabundance in the West Finnmark (Norway) herding region has accentuated the need for an in-depth understanding of the density-dependent and -independent processes driving this pastoral system, as well as the spatial and temporal scale(s) they operate on. Using 20 604 records of individual male reindeer yearlings we assessed the spatial and temporal variation in animals’ performance (measured by their autumn carcass mass), and investigated summer density dependent effects on autumn carcass masses at different scales. We defined three spatial scales; a regio

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Calia, Angela. "Il paesaggio sonoro in relazione. Suono, movimento e immagini per stimolare complessità percettiva." Geography Notebooks 4, no. 1 (2021). http://dx.doi.org/10.7358/gn-2021-001-cali.

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This article wants to explore the topic of the soundscape in the context of dance and video, especially in the site-specific creation process of dance live performances and video dance, with a brief mention to a particular type of audiovisual installations. The exploration develops starting from the soundscape that two dancing bodies produce merely moving in a dance rehearsal room, it continues with the description of a soundscape composed with sounds detected by a specific environment, and it ends with the analysis of the dance movie Car Men, by Paval Conen. The final reflections start from a

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Whiteside, Bethany. "Book review: Moving sites: investigating site-specific dance performance, edited by Victoria Hunter." Scottish Journal of Performance, June 29, 2016. http://dx.doi.org/10.14439/sjop.2016.0301.12.

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Meehan, Emma. "Home Practice: Irish women, Diaspora and Somatic Principles of Hosting." Repertório 1, no. 32 (2019). http://dx.doi.org/10.9771/r.v1i32.26750.

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<span>Dr. Emma Meehan is a Research Fellow at Coventry University’s Centre for Dance Research. She received her BA and PhD from the Drama Department, Trinity College, Dublin, where she taught part-time on the BA and MA programmes. She also worked as the administrator for the Arts Technology Research Lab at Trinity College to support the Digital Arts and Humanities Doctoral Programme. Her doctoral research focused on the work of Irish choreographer Joan Davis, who combines dance and somatic practices in creating interactive, site-specific performances. Emma is associate editor for Journal

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Ismar, Madia Patra, and Rahayu Pratiwi. "ARTISTIC GAZE OF TWO PAPUAN CHOREOGRAPHERS: VISUAL PERSPECTIVES ROOTED IN THE ORAL TRADITIONS OF THE KAMORO AND ASMAT TRIBE." International Review of Humanities Studies 5, no. 1 (2020). http://dx.doi.org/10.7454/irhs.v5i1.238.

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This article is based on the artistic practice of two Papuan choreographers trained in the Jakarta Institute of the Arts Dance Study Program. Both based their choreographies on their traditional roots which were presented as site specific performances in their respective villages. The choice of visuals and dramatic bodily expressions created by them, though a new dance design, was based on their deeply ingrained roots as indigenous Papuans. The roots called upon to be re-interpreted as choreography were based on the oral traditions they grew up with as part of their identity. The focus in this

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