Choreographies in the wild

We investigate the use of choreographies in distributed scenarios where, as in the real world, mutually distrusting (and possibly dishonest) participants may be unfaithful to their expected behaviour. In our model, each participant advertises its promised behaviour as a contract. Participants may interact through multiparty sessions, created when their contracts allow to synthesise a choreography. We show that systems of honest participants (which always adhere to their contracts) enjoy progress and session fidelity

Clubbing masculinities: Gender shifts in gay men's dance floor choreographies

This is an Author's Accepted Manuscript of an article published in Journal of Homosexuality, 58(5), 608-625, 2011 [copyright Taylor & Francis], available online at: http://www.tandfonline.com/10.1080/00918369.2011.563660This article adopts an interdisciplinary approach to understanding the intersections of gender, sexuality, and dance. It examines the expressions of sexuality among gay males through culturally popular forms of club dancing. Drawing on political and musical history, I outline an account of how gay men's gendered choreographies changed throughout the 1970s, 80s, and 90s. Through a notion of “technologies of the body,” I situate these developments in relation to cultural levels of homophobia, exploring how masculine expressions are entangled with and regulated by musical structures. My driving hypothesis is that as perceptions of cultural homophobia decrease, popular choreographies of gay men's dance have become more feminine in expression. Exploring this idea in the context of the first decade of the new millennium, I present a case study of TigerHeat, one of the largest weekly gay dance club events in the United States

EDGE: Editable Dance Generation From Music

Dance is an important human art form, but creating new dances can be difficult and time-consuming. In this work, we introduce Editable Dance GEneration (EDGE), a state-of-the-art method for editable dance generation that is capable of creating realistic, physically-plausible dances while remaining faithful to the input music. EDGE uses a transformer-based diffusion model paired with Jukebox, a strong music feature extractor, and confers powerful editing capabilities well-suited to dance, including joint-wise conditioning, and in-betweening. We introduce a new metric for physical plausibility, and evaluate dance quality generated by our method extensively through (1) multiple quantitative metrics on physical plausibility, beat alignment, and diversity benchmarks, and more importantly, (2) a large-scale user study, demonstrating a significant improvement over previous state-of-the-art methods. Qualitative samples from our model can be found at our website.Comment: Project website: https://edge-dance.github.i

Towards Compliance of Cross-Organizational Processes and their Changes

Businesses require the ability to rapidly implement new processes and to quickly adapt existing ones to environmental changes including the optimization of their interactions with partners and customers. However, changes of either intra- or cross-organizational processes must not be done in an uncontrolled manner. In particular, processes are increasingly subject to compliance rules that usually stem from security constraints, corporate guidelines, standards, and laws. These compliance rules have to be considered when modeling business processes and changing existing ones. While change and compliance have been extensively discussed for intra-organizational business processes, albeit only in an isolated manner, their combination in the context of cross-organizational processes remains an open issue. In this paper, we discuss requirements and challenges to be tackled in order to ensure that changes of cross-organizational business processes preserve compliance with imposed regulations, standards and laws

Vlasov equation and NN-body dynamics - How central is particle dynamics to our understanding of plasmas?

Difficulties in founding microscopically the Vlasov equation for Coulomb-interacting particles are recalled for both the statistical approach (BBGKY hierarchy and Liouville equation on phase space) and the dynamical approach (single empirical measure on one-particle $(\mathbf{r},\mathbf{v})$-space). The role of particle trajectories (characteristics) in the analysis of the partial differential Vlasov--Poisson system is stressed. Starting from many-body dynamics, a direct derivation of both Debye shielding and collective behaviour is sketched.Comment: revTeX, 15 p

ADEPT2 - Next Generation Process Management Technology

If current process management systems shall be applied to a broad spectrum of applications, they will have to be significantly improved with respect to their technological capabilities. In particular, in dynamic environments it must be possible to quickly implement and deploy new processes, to enable ad-hoc modifications of single process instances at runtime (e.g., to add, delete or shift process steps), and to support process schema evolution with instance migration, i.e., to propagate process schema changes to already running instances. These requirements must be met without affecting process consistency and by preserving the robustness of the process management system. In this paper we describe how these challenges have been addressed and solved in the ADEPT2 Process Management System. Our overall vision is to provide a next generation process management technology which can be used in a variety of application domains

Sustainable dance making: Dancers and choreographers in collaboration

In this paper I explore the notion of sustainability, drawing from environmental policy and activism, and apply this notion to the process of dance making. I begin by defining sustainability, and move to exploring both the professional and community contexts of dance making and the practices of collaboration. In many ways, the motivation for this paper comes from a deeply felt concern I have regarding the practices of dance making in the professional dance ‘industry’, particularly as I have observed in New Zealand; practices which I regard as not only unsustainable but sometimes even harmful to dancers and choreographers. I begin by sharing a brief story about my experiences as a dancer as background to my argument