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This study aimed to empirically investigate preservice teachers' learning experiences during a series of geometry-themed choreography and dance activities. These pedagogical tasks were designed to examine the challenges and solutions that participants experienced when exercising their spatial reasoning abilities, particularly during the transition between the choreography designs they had generated on a Lego-based grid worksheet and real-world dancing positions. The data collection for this study took place at an elementary school located within a bilingual metropolitan area along the southwestern United States border. The overall findings indicated that all of the participating preservice teachers' dance teams encountered interrelated challenges, most of which were variations on disorientation, primarily due to transitioning between representations of space and the deprivation of the typically employed spatial navigation reference points that are used in normal activities.

Choreography is an important and challenging educational objective in dance courses. However, most previous technology-enhanced learning studies for dance education mainly focused on students' dance skills, while the issue concerning the approaches to promoting students' choreographic performance has generally been ignored. To address this issue, the present study developed a mobile technology-assisted peer assessment approach based on social constructivism for use in a university general education dance routine choreography class. A total of 266 university students were divided into an experimental group and a control group. The experiment lasted for 15 weeks and involved two rounds of peer assessment. The results showed that mobile peer assessment could significantly enhance the innovative competence of dance routines and dance skills. In addition, according to the students' feedback, the dance routine choreography class was conducive to improving social skills, innovative competence, and intrinsic motivation, while mobile peer assessment could assist students in understanding accurate evaluation criteria, reflecting on their own in a more objective way, and broadening the aspects of appreciating the work.

The artistic production entitled The Art of Burle Marx was led by Bryn Walters and his choreographic team. This artistic project was conceived to be staged in the closing ceremony of the 2016 Olympic Games in Rio de Janeiro (Brasil). This mass choreography makes extensive use of video mapping to enhance the choreographic sequences, as is to be found throughout both the opening and closing Ceremonies. Bryn Walters created this artistic work by reinterpreting, with 480 performers and the use of video projections, the main geometric shapes for which the Brazilian landscape architect Roberto Burle Marx is so well known. Through a careful analysis of the official video, using the Elan software, together with the consultation of ceremony programmes and interviews with the choreographers, the main moments of this mass choreography will be researched and highlighted, with the aim of tracing the recognizable characteristics of Burle Marx’s work. It is possible to conclude that the choreographer Bryn Walter has achieved a successful reconstruction and dissemination of the work of the architect Burle Marx, thanks to a complex collaboration between different professionals, which enhanced the relationship between the performers and the video projections.

Background: The number of patients waiting for heart transplant far exceeds the number of hearts available. Donation after circulatory death (DCD) combined with machine perfusion can increase the number of transplantable hearts by as much as 48%. Emerging studies also suggest machine perfusion could enable allograft "reconditioning" to optimize outcomes. However, a detailed understanding of the energetic substrates and metabolic changes during perfusion is lacking., Methods: Metabolites were analyzed using 1-dimensional 1 H and 2-dimensional 13 C- 1 H heteronuclear spectrum quantum correlation nuclear magnetic resonance spectroscopy on serial perfusate samples (N = 98) from 32 DCD hearts that were successfully transplanted. Wilcoxon signed-rank and Kruskal-Wallis tests were used to test for significant differences in metabolite resonances during perfusion and network analysis was used to uncover altered metabolic pathways., Results: Metabolite differences were observed comparing baseline perfusate to samples from hearts at time points 1-2, 3-4, and 5-6 h of perfusion and all pairwise combinations. Among the most significant changes observed were a steady decrease in fatty acids and succinate and an increase in amino acids, especially alanine, glutamine, and glycine. This core set of metabolites was also altered in a DCD porcine model perfused with a nonblood-based perfusate., Conclusions: Temporal metabolic changes were identified during ex vivo perfusion of DCD hearts. Fatty acids, which are normally the predominant myocardial energy source, are rapidly depleted, while amino acids such as alanine, glutamine, and glycine increase. We also noted depletion of ketone, β-hydroxybutyric acid, which is known to have cardioprotective properties. Collectively, these results suggest a shift in energy substrates and provide a basis to design optimal preservation techniques during perfusion., Competing Interests: A.T., J.Z., and E.M.O. are employees of Olaris, Inc and have ownership and salary interest in the company. The other authors declare no conflicts of interest., (Copyright © 2024 The Author(s). Transplantation Direct. Published by Wolters Kluwer Health, Inc.)

This study delves into driving forces behind the formation of a hetero ternary cluster consisting of volatile organic compounds from industrial or combustion sources, specifically cyclopentene, alongside greenhouse gases like carbon dioxide, and water vapor. While substantial progress has been made in understanding binary complexes, the structural intricacies of hetero ternary clusters remain largely uncharted. Our research characterized the cyclopentene-CO 2 -H 2 O hetero ternary cluster utilizing Fourier transform microwave spectroscopy. The observed isomer in the pulsed jet has CO 2 and H 2 O aligning above the cyclopentene ring, with water undergoing an internal rotation approximately about its C 2 symmetry axis. Theoretical analyses support these observations, identifying an O-H⋅⋅⋅π hydrogen bond and a secondary C⋅⋅⋅O tetrel bond within this cluster. This study marks a critical step towards comprehending the molecular dynamics and interactions of VOCs, greenhouse gases, and water in the atmosphere, paving the way for further investigations into their roles in climate dynamics and air quality., (© 2024 Wiley-VCH GmbH.)

The interwoven relationship between gut microbiota and the epigenetic landscape constitutes a pivotal axis in understanding human health and disease. Governed by a myriad of dietary, genetic, and environmental influences, the gut microbiota orchestrates a sophisticated metabolic interplay, shaping nutrient utilization, immune responses, and defenses against pathogens. Recent strides in genomics and metabolomics have shed light on the intricate connections between these microbial influencers and the host's physiological dynamics, presenting a dynamic panorama across diverse disease spectra. DNA methylation and histone modifications, as key players in epigenetics, intricately align with the dynamic orchestration of the gut microbiota. This seamless collaboration, notably evident in conditions like inflammatory bowel disease and obesity, has captured the attention of researchers, prompting an exploration of its nuanced choreography. Nevertheless, challenges abound. Analyzing data is intricate due to the multifaceted nature of the gut microbiota and the limitations of current analytical methods. This underscores the need for a multidisciplinary approach, where diverse disciplines converge to pave innovative research pathways. The integration of insights from microbiome and epigenome studies assumes paramount importance in unraveling the complexities of this intricate partnership. Deciphering the synchronized interactions within this collaboration offers a deeper understanding of these delicate interplays, potentially heralding revolutionary strides in treatment modalities and strategies for enhancing public health., Competing Interests: The authors have no funding and conflicts of interest to disclose., (Copyright © 2024 the Author(s). Published by Wolters Kluwer Health, Inc.)

Competing Interests: All authors declare no conflicts of interest.

Regulation of eukaryotic gene expression involves a dynamic interplay between the core transcriptional machinery, transcription factors, and chromatin organization and modification. While this applies to transcription by all RNA polymerase complexes, RNA polymerase III (RNAPIII) seems to be atypical with respect to its mechanisms of regulation. One distinctive feature of most RNAPIII transcribed genes is that they are devoid of nucleosomes, which relates to the high levels of transcription. Moreover, most of the regulatory sequences are not outside but within the transcribed open chromatin regions. Yet, several lines of evidence suggest that chromatin factors affect RNAPIII dynamics and activity and that gene sequence alone does not explain the observed regulation of RNAPIII. Here we discuss the role of chromatin modification and organization of RNAPIII transcribed genes and how they interact with the core transcriptional RNAPIII machinery and regulatory DNA elements in and around the transcribed genes., (© 2024 The Author(s).)

Movement patterns in Javanese dance works are formed from types of movement series constructed to become a unified whole. This series of movements is often called a motion motif, a motion range, or sekaran. A series of movements can be likened to a puzzle arranged in such a way as to form a unified whole. This article aims to describe the movement patterns of the Bedhaya Gandakusuma dance with Mangkunegaran style. This description is essential to know the construction of the movement pattern used. This research is a form of qualitative research with an ethnochoreological approach. Data collection techniques used are participant observation, interviews, and literature study. The results show that the construction of the Bedhaya Gandakusuma dance movement patterns consists of elements of gesture and movement that become the basic material in the arrangement of each series of movements. In the arrangement process, it is tied with a motif or a basic movement as a unifying thread. The basic movement is a series of ngenceng movements. It means that the series of ngenceng movements become the foundation in various variations of the series of movements used. The series of movements are connected by using transition movements (sendhi). The movement patterns construction of the Bedhaya Gandakusuma dance not only considers motifs, variations, and transitions but also considers repetition, climax, proportion, logical development, and unity. The purpose is to achieve wholeness to give vitality in conveying the meaning or essence being expressed.

Abstract The eukaryotic polymerase α (Pol α) synthesizes an RNA-DNA hybrid primer of 20–30 nucleotides. Pol α is composed of Pol1, Pol12, Primase 1 (Pri1), and Pri2. Pol1 and Pri1 contain the DNA polymerase and RNA primase activities, respectively. It has been unclear how Pol α hands over an RNA primer from Pri1 to Pol1 for DNA primer extension, and how the primer length is defined. Here we report the cryo-EM analysis of yeast Pol α in the apo, primer initiation, primer elongation, RNA primer hand-off from Pri1 to Pol1, and DNA extension states, revealing a series of very large movements. We reveal a critical point at which Pol1-core moves to take over the 3’-end of the RNA from Pri1. DNA extension is limited by a spiral motion of Pol1-core. Since both Pri1 and Pol1-core are flexibly attached to a stable platform, primer growth produces stress that limits the primer length.

The author, in the text below, discusses her 4 choreographies based on Chinese culture and art. There are two compositions by Pierre - Octave Ferrous from Trois Pieces pour flûte seule series , another two represent the music of Chinese composers: Zhang Qu - Musical Letters and Huang Haihuai – Horse Racing. Shengya Huang in her artistic works used the elements of traditional Chinese dance and Chinese props. The premiere of the choreographies described below took place in Poland, in 2023, and was performed by the students of The Eurhythmics Faculty at Stanislaw Moniuszko Music Academy of Gdańsk and by the author herself. She presented her artistic works in China, as well, with the participation of The College Music and Dance, Nanchang Vocational University students .

The purpose of the article is to trace the main stages of the formation and features of hip-hop as a popular modern dance with emphasis on its role in modern choreography. The research methodology is based on a combination of a number of general scientific (analysis, synthesis, generalisation, among others) and special methods and approaches integrated from art history, history. The scientific novelty consists in drawing attention to the need to study such a type of modern dance as hip-hop. Conclusions. Hip-hop dance is part of the larger hip-hop culture and reflects the freedom to learn and express oneself through movement. This mixed street style of social dance combines acrobatic movements, gymnastics, and rhythm and includes other artistic manifestations (graffiti, rap, in particular). Unlike other types of dance, it does not have specific movements that need to be performed one after another, as well as complex choreography that needs to be memorised. One of its most striking features is improvisation, the main task of which is to respond to the rhythm of the music and allow it to capture the body. In general, hip-hop dance plays an essential role in the diversity and development of modern choreography, bringing its unique energy, style, self-expression, and socio-cultural depth. Elements of hip-hop that significantly influence modern choreography, enriching its content and context, include authenticity of urban culture, socio-cultural elements (street fashion, music, graffiti art), support of collective creativity, constant evolutionary dynamics. Hip-hop is constantly evolving, and its performers integrate new elements and styles, making it a diverse and dynamic form of choreography. [ABSTRACT FROM AUTHOR]

In contemporary society, the creative concept of Indonesian choreography encounters the digitalisation and commercialisation, that can be both challenging and frightening. While young choreographers in Gorontalo are adjusting themselves in learning contemporary, they too need to appreciate traditional dance aesthetic, so they will have a clear concept while using ethnic elements in creating dance. One of the embodiments of North Sulawesi’s dance aesthetic is Dana Dana, developed in a limited way in Bolaang Mongondow. The similar dance is also existing in Gorontalo under the same name but slightly different in some components. As dance aesthetic is essential to construct the regional dance style, it is necessary to look further how the aesthetic of Bolaang Mongondow’s Dana Dana brings the distinctive features in the forms of choreographic development. Using a phenomenological approach integrated with creative-based choreographic, this research examined how the experimental and explorative works enrich the student’s experience to produce genuine vocabularies, and the embodiment of cultural values in their creation. Through a circle of observing-feeling-imagining-manifesting-forming, the concept of contemporary choreography embraces new artistic understanding that bring the transcendental realm of creativity. Mengeksplorasi Estetika Tari pada Koreografi Kontemporer di Universitas Negeri Gorontalo Abstrak Dalam masyarakat kontemporer, konsep kreatif koreografi Indonesia menghadapi tantangan digitalisasi dan komersialisasi, yang sekaligus menakutkan. Pada saat koreografer muda di Gorontalo sedang menyesuaikan diri dan mempelajari kontemporer, mereka juga perlu menghayati nilai-nilai budaya seperti estetika tari, sehingga mereka akan memiliki konsep yang jelas saat menggunakan elemen etnis dalam mencipta tari. Salah satu wujud estetika tari daerah Sulawesi Utara adalah tari Dana Dana yang dikembangkan secara terbatas di Bolaang Mongondow. Menarik, karena tarian serupa juga ada di Gorontalo dengan nama yang sama namun sedikit berbeda di beberapa komponen. Karena estetika tari sangat penting untuk membangun gaya tari daerah, maka perlu dilihat lebih jauh bagaimana estetika tari Dana Dana Bolaang Mongondow menghadirkan ciri khas dalam bentuk pengembangan koreografi. Menggunakan pendekatan fenomenologis yang terintegrasi dengan koreografi berbasis kreatif, penelitian ini mengkaji bagaimana kerja eksperimental dan eksploratif memperkaya pengalaman mahasiswa untuk menghasilkan kosakata gerak sejati, dan memberi wujud nilai-nilai budaya dalam penciptaannya. Melalui proses melingkar mengamati-merasakan- membayangkan-mewujudkan-membentuk, konsep koreografi kontemporer diarahkan untuk merengkuh pemahaman artistik secara baru yang membawa kreativitas pada ranah transendental.

Over the past 7 years, we pioneered the development of a program blending dance choreography, computer programming, and a virtual environment to teach computational thinking, broadening pathways for more diverse students. We investigated the ways in which upper elementary and middle school students creating dance performances for virtual characters utilize embodied ways of thinking to engage with computational concepts, practices, and perspectives. Through quantitative and qualitative data analysis from five research contexts, we found that (a) students' computational thinking abilities improved; (b) distinct relationships formed between social, embodied interactions and student engagement with the virtual platform; and (c) students shifted their mental models of who computer scientists are and what they do after our interventions.

This article focuses on resilience and chronic pain in the context of choreography and performance. Through critically-creatively reflecting on my practice-as-research project, "Ecologies of Pain," I explore practices of resilience that emerge from turning towards and working creatively with chronic pain. I draw from two strands of the performance research -- collaborating with disabled artist Raquel Meseguer and devising a new autobiographical solo performance, "Pain and I." Taking disability studies as my critical framework, I think through a cripped politics of resilience, where chronic pain bodies are understood as valid, valuable and skilled.