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The article explores the phenomenon of viral dance on TikTok and examines the legal and social controversies surrounding the copyright protection of choreography on the platform. It delves into the differences between traditional choreography and viral dance, discussing issues such as speed of dissemination, audience participation, and social aspects.

This paper presents a monitoring, control, and management system that allows the interoperability of multiple smart gateways in a greenhouse to bolster automatic decision making on water supplied to the crops in real-time. The system consists of several sensor nodes interconnected by Zigbee to measure ambient and soil parameters to control the greenhouse irrigation process. In addition, a web service is included to help the system manager to visualize and operate the greenhouse on a web platform. The system also supports human decision making to cope with undesirable and unexpected environmental events. Smart gateways enable data reading, storage and edge computing using automatic rules to manage actions in the greenhouse, as well as data transmission for centralized processing in cloud services. The service communication system layer is supported by choreography middleware for messaging distribution, which enables agile scalability. This research proposes a hybrid scheme and compares to a centralized scheme. The latency times in the choreography system were analyzed to find a suitable solution adapted to infrastructure deployment features. Numerical results shows that such an adaptive deployment of the irrigation services among edge and fog layers can reduce the computational load on the gateways, improve system response times, and enhance device performance. [ABSTRACT FROM AUTHOR]

This paper presents a monitoring, control, and management system that allows the interoperability of multiple smart gateways in a greenhouse to bolster automatic decision making on water supplied to the crops in real-time. The system consists of several sensor nodes interconnected by Zigbee to measure ambient and soil parameters to control the greenhouse irrigation process. In addition, a web service is included to help the system manager to visualize and operate the greenhouse on a web platform. The system also supports human decision making to cope with undesirable and unexpected environmental events. Smart gateways enable data reading, storage and edge computing using automatic rules to manage actions in the greenhouse, as well as data transmission for centralized processing in cloud services. The service communication system layer is supported by choreography middleware for messaging distribution, which enables agile scalability. This research proposes a hybrid scheme and compares to a centralized scheme. The latency times in the choreography system were analyzed to find a suitable solution adapted to infrastructure deployment features. Numerical results shows that such an adaptive deployment of the irrigation services among edge and fog layers can reduce the computational load on the gateways, improve system response times, and enhance device performance. [ABSTRACT FROM AUTHOR]

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

• Auto industry incumbents use a delay strategy to thwart environmental policies. • The strategy is not temporal, as others argue, but pressure sensitive. • Our study introduces new resistance tactics deployed by incumbent actors. • Both industry and government use the EU-level to influence the other side. Most serious environmental and health problems caused by the transport sector stem from the automobile. While other sectors have reduced emissions, transport emissions have increased and the sector's sustainability transformation seems stalled. Why is that? And what role do incumbent automobile industry actors play? Relatively few scholars have focused on the behavior of these incumbents. Our study contributes towards filling this gap by analyzing two case studies of how the German automobile industry has reacted to environmental policy initiatives. Our analysis allows us to make several contributions to the literature. First, we demonstrate how industry and policy makers attempted to outmaneuver each other. Second, we illuminate several tactics employed by incumbents to resist change. And third, our analysis reveals a pattern of behavior that we argue is linked to the degree of pressure placed on incumbents. Most other attempts to identify patterns have prioritized the temporal dimension. [ABSTRACT FROM AUTHOR]

Purpose: Innovation ecosystems can emerge and grow organically, but the process can also be managed through conscious intervention. Therefore, this study observes different motivations and expectations for each group of actors. The lack of alignment between actors could have a negative influence on the development of innovation ecosystems. This study aims to analyze the coordination strategies of the actors throughout the life cycle of innovation ecosystems. Design/methodology/approach: This study develops and proposes a model for coordinating innovation ecosystems based on the theoretical backgrounds of the ecosystem life cycle and ecosystem coordination. Findings: This study argues that each stage of an innovation ecosystem's life cycle – inception, launching, growth and maturity – demands different coordination strategies. Initially, networks are simpler and thus the coordination issues are less difficult. However, as the ecosystem evolves and the complexity of the networks increases, a more sophisticated strategy, such as orchestration or choreography, is needed. Research limitations/implications: This is a theoretical study that recommends further research to test this model. Practical implications: The understanding of coordination and stages of the life cycle of an innovation ecosystem can guide actors in the design of strategies for developing of ecosystems. Social implications: The proposed framework could support strategies to engage civil society in actions to develop innovation ecosystems. Originality/value: This study presents a framework to understand the coordination strategies better, considering the stages of an innovation ecosystem's life cycle. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The COVID-19 pandemic has made visible the many ways in which moving (especially through urban spaces) is a matter of what I call, in reference to Andrew Hewitt, "social choreography": the unwritten rules about how one moves through crowds, where one is able and allowed to go, and how one gets there. This article brings together aspects of social choreography, the movements within lyrical compositions, and the literal and figurative dimension of breathing in order to reflect upon individual and communal aspects of the force and power that is inhibited when people cannot move and breathe as a group. Examining Laura Mullen's poem "Virus," I concentrate on how breath and movement establish a sense of self; my reading of Claudia Rankine's poem "Weather" turns to the racial inequalities that the pandemic has amplified and reinforced. Taking seriously the impact of bodily movements and rhythms of breath onto individual and communal identities, I explore the ways in which Mullen's and Rankine's poems present and enact shared breathing and shared movements as meaningful elements of individual and communal identities. [ABSTRACT FROM AUTHOR]

Building upon facial recognition and other systems of identification, the next generation of biometric technology includes behavior recognition, training AI to analyze and interpret how bodies move in public spaces. Paired with already ubiquitous CCTV cameras, these software systems detect a range of motions--trips, falls, fighting, irregular gait--anything that deviates from the established norm. In this paper, I argue that by criminalizing certain movements, behavior recognition technologies effectively codify a technique, a vocabulary of acceptable and allowable movements, enacting a form of social choreography. Within this choreography, what movements are available to whom? What constitutes normal, and who is afforded or denied such a claim? In the fall of 2019, I undertook a corporeal engagement with these questions through the development of a short video project entitled One True False Move, seeking to disrupt the codes of normalcy and destabilize the surveillant technology's position as social choreographer. In theorizing a conceptual framework and reflecting upon creative practice, I explore the body as a site of resistance, endowed with the resilient capacity to move in or out of step with systematic codes and counter attempts to be rendered legible. [ABSTRACT FROM AUTHOR]

MRI is a non-invasive medical imaging modality that is sensitive to patient motion, which constitutes a major limitation in most clinical applications. Solutions may arise from the reduction of acquisition times or from motion-correction techniques, either prospective or retrospective. Benchmarking the latter methods requires labeled motion-corrupted datasets, which are uncommon. Up to our best knowledge, no protocol for generating labeled datasets of MRI images corrupted by controlled motion has yet been proposed. Hence, we present a methodology allowing the acquisition of reproducible motion-corrupted MRI images as well as validation of the system's performance by motion estimation through rigid-body volume registration of fast 3D echo-planar imaging (EPI) time series. A proof-of-concept is presented, to show how the protocol can be implemented to provide qualitative and quantitative results. An MRI-compatible video system displays a moving target that volunteers equipped with customized plastic glasses must follow to perform predefined head choreographies. Motion estimation using rigid-body EPI time series registration demonstrated that head position can be accurately determined (with an average standard deviation of about 0.39 degrees). A spatio-temporal upsampling and interpolation method to cope with fast motion is also proposed in order to improve motion estimation. The proposed protocol is versatile and straightforward. It is compatible with all MRI systems and may provide insights on the origins of specific motion artifacts. The MRI and artificial intelligence research communities could benefit from this work to build in-vivo labeled datasets of motion-corrupted MRI images suitable for training/testing any retrospective motion correction or machine learning algorithm. • Choreography-controlled head motion protocol for MRI. • Labeled motion-corrupted MRI dataset generation for Machine Learning. • Improved volume to volume registration by temporal upsampling. [ABSTRACT FROM AUTHOR]

This article investigates protesting when there are restrictions on public assembly. In spring 2020, social movements (partly unwittingly) used choreographic means in order to deal with the prohibition of public gatherings, imposed by the Covid-19 pandemic. Examples in Tel Aviv (Black Flag protest, 19 April) and the campaign Empty Chairs in Germany (24 April) have one prominent characteristic in common: The lack of expansive spatial movement. The article delineates the ways in which these protests aimed to make their voices heard: Choreographic arrangements of physically distanced bodies were assigned on site to produce highly affective images for social media, thus shifting the focus of the protests’ visibility into the online public sphere. In addition, the different situations of vulnerable bodies calling to action are of interest: Given the pandemic times, the concept of protection takes precedence. [ABSTRACT FROM AUTHOR]

In this article, I critically investigate the question, "Are dance and choreography generative methods of inquiry?" To do this, I draw on my experience analyzing and translating field notes about a role transition experience using dance-based methods. I examine how I employed the GRAHAM technique as a lens through which to investigate and illuminate the factors influencing a lived experience of transitioning from registered nurse to advance practice nurse. Throughout the article, I grapple with how to articulate and write about an arts-based research process that is embodied and intuitive. Ultimately, reflecting on and critiquing my experience of using dance and choreography as a method of inquiry, I come to argue that the GRAHAM technique offered a lens through which to ask critical questions in both a cognitive and embodied sense. This process of "dancing the data" to analyze and disseminate findings is generative in that it offered new insights into what a role transition might entail and provided a method of capturing the living of an experience. [ABSTRACT FROM AUTHOR]

Focuses on the importance of elements of choreography in dance curriculum in the U.S. Concept of originality; Definition of transitions; Application of focus and clarity. INSETS: Rubric for the Elements of Choreography;Lesson Plan.

The following study aims to discover how narrative identities are created through modern dance choreography. In order to properly analyse this notion several methodologies are used as a means to do so. Inclusion of discourse and multimodal discourse analysis are supplemented by Laban movement analysis. Data includes a collection of modern dance videos accompanied by the song lyrics personally chosen by the researcher. The dance collection is limited to modern dance as modern dance allows for an opportunity to gain a creative insight into the abstract movements found within. In order to identify just how narratives are created sub-questions addressing audience perception of the lyrics and dance as well as the contributing factors found within costuming, location and scenery are addressed. Once all data was analysed a comparison was done to note where and when themes were seen in contributing to a narrative identity. [ABSTRACT FROM AUTHOR]

This essay begins from reproductive justice's understandings of sexual violence and the five circles model of holistic human sexuality. From this theoretical standpoint I argue that racism and ableism are forms of sexual violence, affecting how people experience intimacy as well as sexualization, health, sensuality, and more. By reviewing theatre s specific entanglements 'with racism and ableism, I interrogate the foundations of intimacy choreography in practice, outline challenges of addressing racism and ableism on the stage, and explore the opportunities for sexualjustice offered by centering the experiences of people of color and disabled people in intimacy choreography s considerations of sexual violence. [ABSTRACT FROM AUTHOR]

The American dance scene has been growing, both in popularity and profitability, since its inception in the early 1900s. After fighting for decades for Congress to include it in Copyright laws, the dance community saw "choreographic works" added as a protected medium in the Copyright Act of 1976. The Copyright Act does not define choreography, something this Note seeks to do. Since its enactment, very few choreographers have brought claims under the statute. This Note seeks to evaluate the standards that would apply in a potential choreography copyright infringement suit by following two hypotheticals through the determination and application of copyright law. This Note posits a possible rationale for choreography's addition to the 1976 Copyright Act. After determining what standards from general copyright law would be applicable to a choreography copyright infringement suit, this Note suggests clarifications to the statute, specifically by presenting a definition of choreography itself and clarifying the use of fair use factors in a defense analysis. This Note concludes with the application of the suggested standards to two hypotheticals: a hypothetical claim by a modern choreographer against Beyonce for using her choreography in a music video, and a hypothetical claim by Martha Graham against her protege Paul Taylor for appropriating her signature technique. [ABSTRACT FROM AUTHOR]

This paper looks at artist driven initiatives in Denmark since the 1980s that have aimed to document, collect, and archive the remains of an art form otherwise deemed short-lived, ephemeral, and marginal to the history of the performing arts. Approached through recent dance history as well as dance and archival theory, it unpacks how dance artists have taken on the task to create platforms to allow for insights from the past to inform the present as well as the future. The discussion engages two examples, each of which belongs to a different archival paradigm, before investigating in more detail a still ongoing dance archival/(hi)story project initiated in 2018 by a group of choreographers and dancers whose concept of their craft is informed by an expanded notion of choreography. Facilitating platforms for transgenerational exchanges between dance artists, the project named Danish Dance Stories explores participatory formats for the sharing of tangible remains, documents, stories about dance and the lives of dancers as well as the corporeal transmission of choreographic material, training approaches, artistic philosophies, and proposals. It will be argued that in the project's entanglement of the ephemeral with the remains, the stories and the embodied traces, dance history writing becomes an artistic project in itself. [ABSTRACT FROM AUTHOR]

Performing with chopsticks, in the interaction between dancing bodies and digital technology (software, web-cameras, sensors and projectors), raises questions about new forms of choreography and the consideration of cultural identity in the adoption of technology, when such dancing bodies are mediated by computer programming. Following the notion of the choreographic systems conceived by choreographer/digital performance scholar Johannes Birringer for his metakimospheres, I use ordinary objects from Chinese everyday life such as chopsticks as an interface to engage with dancing bodies from the perspective of a choreographer trained in Chinese dance traditions. The use of chopsticks in my practice-based research connects to recent sonic arts experiments with sounding materials and recontextualized electronic instruments, and this article explores the sticks as multivalent props or extended instruments which also act as a kind of microcontroller (eliciting sounds through microphonic and software interaction). The convergence of sonic chopsticks and computer-mediated dancing bodies raises images of violence and nostalgia in the dance pieces Qi (Breath) and Xun (Looking For), which are part of the project X-Body, a full-length digital dance work. Embracing a transdisciplinary perspective, this paper examines the configurations of dancing bodies associated with specific interactive technologies, ordinary objects and movement, and probes some of the dimensions of cultural performance in digital choreography. [ABSTRACT FROM AUTHOR]

Copyright of Revista Brasileira de Medicina do Esporte is the property of Redprint Editora Ltda. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the future, an increasing number of devices will be utilized in concert to support human activities, but little is known about how these interacting multidevice settings should be designed optimally in a human-centered manner. We report on a study in which we took two visions created by the Microsoft Corporation as a starting point. The aim of the paper is to describe a method for user-centered design that extends the ideas of a choreographic approach to interaction design and to demonstrate how micromovement analysis can be conducted in practice. We utilized a structural reorganization of movement continua originally presented in the videos for a first-person enactment of that choreography as a means to understand the kinesthetic quality and the potential of the implied choreographies. The approach underscores the influence of interaction designs on the moving and experiencing body, as well as the potential that the moving and experiencing body has for interaction design. [ABSTRACT FROM AUTHOR]

In annual air guitar competitions, performers choreograph routines that simulate and exaggerate gestures needed to play "real" guitar. Before competitions, they edit and alter popular music to facilitate routines. Based on fieldwork at local and national competitions in the United States and the international competition in Finland, my research demonstrates connections between remix aesthetics offstage and choreographies onstage, where competitors configure, conjure, and consume popular music. Rather than viewing competitions as evidence of uninhibited interpretive agency of popular music consumers, I argue that power differentials emerge where identity, sensibility, physical skills, and acquired skills determine types and degrees of participation possible for practitioners. [ABSTRACT FROM AUTHOR]

In 1996, Pablo Ventura turned his attention to the choreography software Life Forms to find out whether the then-revolutionary new tool could lead to new possibilities of expression in contemporary dance. During the next 2 decades, he devised choreographic techniques and custom software to create dance works that highlight the operational logic of computers, accompanied by computer-generated dance and media elements. This article provides a firsthand account of how Ventura's engagement with algorithmic concepts guided and transformed his choreographic practice. The text describes the methods that were developed to create computer-aided dance choreographies. Furthermore, the text illustrates how choreography techniques can be applied to correlate formal and aesthetic aspects of movement, music, and video. Finally, the text emphasizes how Ventura's interest in the wider conceptual context has led him to explore with choreographic means fundamental issues concerning the characteristics of humans and machines and their increasingly profound interdependencies. [ABSTRACT FROM AUTHOR]

this research designed simulation system of gymnastics automatic choreography software. To successfully design the gymnastics movements, experiment adopted solutions based on key frame spline interpolation calculation which managed to solve the problem of location deviation; quaternion interpolation algorithm was adopted to solve the rotation problem of the subject and the body, which made the modified action by computer auxiliary choreography system completely returned to virtual figure animation. In addition, for coordination of dance and audio, this paper established movement fragments library based on sentiment types, proposed viable approach of synchronized audio and video model. Teaching experience was conducted in the gymnastics course of physical education at the University and achieved good results. [ABSTRACT FROM AUTHOR]

This study explored interpersonal coordination on artistic swimming teams by focusing on how swimmers interact with their environment when they adjust their movements to each other. This competitive context has never been investigated and we expected that the sivimmers' interpersonal coordination would provide new insights into the coordination of their activities during team performances. Ten swimmers volunteered to participate in the analysis of national or international competitions. The method was based on individual enactive interviews designed to grasp swimmers' activity as they adjusted to each other. Through an inductive content analysis, five meaningful interactions were identified, with: (a) the 8-counts, (b) the activity of other swimmers, (c) key moments in the music, (d) their own sensations, and (e) the material environment. The results revealed how the swimmers' activity was developed from different types of information that enabled them to make sense of the movements underway to achieve team performance. [ABSTRACT FROM AUTHOR]

The article discusses the careers and accomplishments of several contemporary British ballet choreographers. Topics explored include the success of Royal Ballet commission "Chroma," by Wayne McGregor, the narratives of the ballets "Alice's Adventures in Wonderland" and "The Winter's Tale," produced by Christopher Wheeldon, and the directorship of David Bintley in the Birmingham Royal Ballet before being replaced with Carlos Acosta.

Copyright of Sosiologia is the property of Westermarck Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Capital Institute of Physical Education is the property of Shoudu Tiyu Xueyuan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)