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Lissajous figures are parametric equations that deconstruct into equations of simple harmonic motion. They were a source of inspiration by artists and mathematicians alike, well before the digital age, due to their esthetic forms and simple equations that could be easily deconstructed. Here for the first time in literature, we present Lissajous pattern analysis in the context of modern dance movement, thereby expanding the physical understanding of dance and redefining the creative choreographic process. Through the implementation of wearable sensors, specifically wireless accelerometers, we have collected movement data from professional dancers to serve as an additional lens to visualize dance in a novel way and to analyze dance mechanics. The resulting Lissajous figures from the movement phrases were used to both inform and inspire creativity in the choreographic process of the Artistic Director of the Bowen McCauley Dance Company to create a new piece of work entitled "Lissajous."

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Implementing approaches based on process mining in inter-organizational collaboration environments presents challenges related to the granularity of event logs, the privacy and autonomy of business processes, and the alignment of event data generated in inter-organizational business process (IOBP) execution. Therefore, this paper proposes a complete and modular data-driven approach that implements natural language processing techniques, text similarity, and process mining techniques (discovery and conformance checking) through a set of methods and formal rules that enable analysis of the data contained in the event logs and the intra-organizational process models of the participants in the collaboration, to identify patterns that allow the discovery of the process choreography. The approach enables merging the event logs of the inter-organizational collaboration participants from the identified message interactions, enabling the automatic construction of an IOBP model. The proposed approach was evaluated using four real-life and two artificial event logs. In discovering the choreography process, average values of 0.86, 0.89, and 0.86 were obtained for relationship precision, relation recall, and relationship F-score metrics. In evaluating the quality of the built IOBP models, values of 0.95 and 1.00 were achieved for the precision and recall metrics, respectively. The performance obtained in the different scenarios is encouraging, demonstrating the ability of the approach to discover the process choreography and the construction of business process models in inter-organizational environments.

This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of ‘expanded choreography’ and ‘cultural commoning’. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices.

This paper makes the case for the connection between making land-use regulatory changes and the process of destruction and redevelopment. Under the capitalist imperative, buildings that do not fulfil the full potential for profit are likely to be demolished (or refurbished) but demolition and new development are not shaped exclusively by the immutable laws of the market as they are mediated and facilitated by specific institutional contexts. Using the case of East Midtown rezoning in New York City, the paper examines the amendments of two land-use regulatory mechanisms: the enlargement of development rights (rezoning or upzoning) and the relaxation of the spatial limitations on the usage of existing unused rights (transferable development rights). While apparently unconnected, upzoning and transferable development rights are part of the regulatory framework that seeks to secure the ongoing generation of the highest-possible profits for private as well as public interests. By examining the choreography of rezoning and transferable development rights, the paper shows how the mechanics of creative destruction work while substantiating an existing body of knowledge on land use policies and practices in New York City. When used together, rezoning and transferable development rights are instrumental in remaking the built environment. Essentially, the rezoning of a 78-block area in East Midtown Manhattan unlocks captured and latent development rights that otherwise could not come about, and demonstrates the necessity of institutional arrangements to make creative destruction actually work. [ABSTRACT FROM AUTHOR]

Here is analyzed Dostoevsky’s Crime and Punishment not as being translated into choreography, but from the point of view of Dostoevsky’s own “choreography” of visualized metaphors of movements, constituting the encoded text of the novel. In the article “choreography of text” means verbal description of various motions, gestures, and positions, whereas “text of choreography” means the way one could interpret their message. In other words, it means the reading of presented visible actions as another unwritten though indirectly expressed text. Dostoevsky often refers to visuality and instead of words he describes silent movements. These movements are symbolic, and they silently speak of inner experiences, emotions, and thoughts, presented in a form of clearly visible events of the external world. A “sketch” to Crime and Punishment from the point of the “choreography of text” in the context of Raskolnikov’s doubleness is The Double, in which the whole fifth chapter is a recording of a complex, dynamic “dance” of bifurcation. Like the story, the novel concerns the inner life of the main character, the difficult path of one Raskolnikov to the other. This metaphysical path is shown as physically existing, and contradictory movements of the hero’s soul gain visibility while going through it. It seems the writer truly possesses not only the art of the words but also the one of choreography and can speak about the most essential things using body language. Sometimes the culmination points of the leading message of the novel are expressed in short but deeply symbolic words, and at times they are rather shown than spoken. Considering that the actual meanings of the text are not lying on the surface, but are concealed behind symbolic words and movements, these details require close attention and a thorough analyses which the essay is dedicated to.

The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.

Abstract Hybrid figures serve as an important component of artistic swimming, however, no prior research has investigated objective indicators for predicting total scores in competition. This study aimed to identify significance of hybrid figure (HF) elements in predicting total scores in artistic swimming competitions and compare these variables between the Beijing team trials and international official competitions. Eight HF variables were measured in the videos from the international artistic swimming competitions, with calibration and measurement of the variables leg height index and leg angle deviation being performed by means of Kinovea. Multiple linear regression was conducted to predict the total scores based on these variables investigated for the international teams, which showed 5 significant predictors including movement frequency, leg height index, leg angle deviation, mean pattern duration, and rotation frequency. Wilcoxon signed-rank test was used to determine the differences in the variables between the Beijing team and the international teams (top 5), which showed significant difference on movement frequency, leg angle deviation, leg height index and total score. When designing hybrid figures choreography of team free routine in artistic swimming, coaches should prioritize appropriate movement frequency, pattern changes and rotations over excessively long durations. Overly complex HF choreography may lead to a decline on performance in artistic swimming competition.

The aim of this paper is to take a step backwards. The problem of community in contemporary dance cannot be accurately thought without first looking at dance’s constitutive outside, namely social dancing. This is where most dancing actually happens, but it falls outside the remit of contemporary dance as an artform. And it is a constitutive outside because dance as an artform historically emerged by separating itself off from social dancing, all while remaining bound up with it. In social dancing, the nature of dance is clearly on display: dancing always served community formation and used to be an intrinsic part of life’s most important rituals. But in order to become art, dancing was transformed into “works”, which populate an “imaginary museum” (Goehr) and which transcend the moment of performance so that they can be seen, re-seen and contemplated by an audience. Deprived of its organic embeddedness in communities, dance must now re-connect with societal and ethical issues from within the artificiality of its own medium. I discuss the choreographic strategies of two very different figures, Bronislava Nijinska and Tino Sehgal, who both show an exemplary awareness of the specificity of dance as an artistic medium.

The article is devoted to the problem of the designing of the discipline «Professional Communication in a Foreign Language» working curriculum for the preparation of 024 Choreography specialty students. The designing of a working curriculum is one of the most important aspects in the process of planning in terms of the professional training of each specialty. The necessity of its review and updating on the yearly basis is proved in the article. The goal and aims of the discipline «Professional Communication in a Foreign Language» are based on the program of education and professional training for the students of the second level of higher education (Master) 024.00.01 «Choreography» are presented by the author. For instance, the need for the development of the competencies that allow communicating with the representatives of the other professional groups is granted by the content. The expected learning outcomes for 024 Choreography specialty students are discussed. The used references for the course design are reviewed. The structure of the working curriculum as well as its integration with the certified course for distance learning on the Moodle e-learning platform has been described in the article below. The results of students’ questionnaires based on the completion of the discipline «Professional Communication in a Foreign Language» course are revealed and discussed. The further transformations of the working curriculum and the place for the next research are emphasized.

This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of 'expanded choreography' and 'cultural commoning'. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices. [ABSTRACT FROM AUTHOR]

This article aims to take part in the ongoing discussion on the social and political potentialities as well as the conceptual premises of choreography and to contribute to the discussion about world relations in the choreographed movement. The much-used definition of Western choreography is "organized movement in space and time". Although this definition always applies, it does not specify the world relations and worldmaking capacities of the choreographed movement. The main focus of this article is an ontological rethinking of the basic concepts of choreography: movement, space, time and organization, with the addition of kinaesthetic fields, kinaesthetic and spatial intelligence, virtual and actual realms, striated and smooth spaces (Deleuze and Guattari) and different conceptions of time. By analyzing these concepts, the aim is to provide a view of ontologically elementary units in choreography (such as a change in space, the difference over time and space, and passage to shared actuality), with a wider understanding of the inherent social relationality in choreographed movement. After discussing these topics, a few social choreography events and protests are described to represent different choreographic aims and organizational modes arising from each specific situation. The article concludes by proposing that choreography could be seen as organizing movement in space and time but also as a choreographic actualization of intensities in different discursive fields. [ABSTRACT FROM AUTHOR]