Choreographing Configuration Changes

This paper describes the automatic generation of a set of reactive agents capable of autonomously reconfiguring a computing infrastructure into a specified goal state. The agent interactions are guaranteed to be deadlock/live-lock free, can preserve pre-specified global constraints during their execution, and autonomically maintain the goal state once it has been achieved. We describe novel algorithms for the generation and execution of the agent model, and evaluate the results on some realistic problems, using a prototype implementation

gMotion: A spatio-temporal grammar for the procedural generation of motion graphics

Creating by hand compelling 2D animations that choreograph several groups of shapes requires a large number of manual edits. We present a method to procedurally generate motion graphics with timeslice grammars. Timeslice grammars are to time what split grammars are to space. We use this grammar to formally model motion graphics, manipulating them in both temporal and spatial components. We are able to combine both these aspects by representing animations as sets of affine transformations sampled uniformly in both space and time. Rules and operators in the grammar manipulate all spatio-temporal matrices as a whole, allowing us to expressively construct animation with few rules. The grammar animates shapes, which are represented as highly tessellated polygons, by applying the affine transforms to each shape vertex given the vertex position and the animation time. We introduce a small set of operators showing how we can produce 2D animations of geometric objects, by combining the expressive power of the grammar model, the composability of the operators with themselves, and the capabilities that derive from using a unified spatio-temporal representation for animation data. Throughout the paper, we show how timeslice grammars can produce a wide variety of animations that would take artists hours of tedious and time-consuming work. In particular, in cases where change of shapes is very common, our grammar can add motion detail to large collections of shapes with greater control over per-shape animations along with a compact rules structure

Dancing with Clio: History, Cultural Studies, Foucault, Phenomenology, and the emergence of Dance Studies as a Disciplinary Practice

This chapter is particularly concerned with the status of history, dance history especially, within Dance Studies. It asks what has befallen the more recent status of history, once an epistemological support at a critical stage in Dance Studies’s early development, now that Dance Studies is better established, relatively speaking, within the academy. Is history so much scaffolding which, having fulfilled its purpose in enabling the disciplinary plant to take root, is to be dismantled and, if not actually discarded, at least demoted? Three factors will be identified and proposed as having particular significance in this connection, imbuing this chapter with a tri-partite structure. The first concerns the already noted strong imprint of Cultural Studies on Dance Studies and the possible bearing of this imprint on dance history’s status within Dance Studies. For the particular manner in which Dance Studies has construed Cultural Studies may, this chapter will suggest, have impacted upon dance history’s standing within communities of dance scholarship. The second factor has to do with the implications, for dance history, of a particular critique based in a branch of dance scholarship, that perceives phenomenology, which it deems a good fit for dance inquiry, as inherently antithetical to history. In particular, this critique takes the work of Michel Foucault - which it identifies closely with, and as, historical practice - as incompatible with dance enquiry. Incompatibility is staked on the twin grounds of Foucault’s break with, and supposed resulting and enduring antipathy towards, phenomenology; and his perceived embrace of history which is, itself, also understood to result from such a break. In effect, then, this critique questions the very suitability, for dance research, of approaches based in history-focussed inquiry. The ability to call this critique into question, in the ways that the present discussion, in seeking to rehabilitate Foucault, and so history, needs to demonstrate, constitutes the third factor. This final factor makes two particular, further demands of this chapter. Namely that the interrelated questions of Foucault, phenomenology, and dance; and of the position which phenomenology has itself adopted in relation to history, be re-visited and re-evaluated to the extent that space reasonably allows. Fortunately, these interrelated questions are ones which have - relatively recently - preoccupied scholarship on Foucault, and on phenomenology, respectively. This preoccupation may in and of itself be one possible indicator that there is indeed more at stake, and so to consider, regarding both questions, than the lines drawn by the aforementioned critique might suggest

Chapter 4 Choreographing Love

This chapter examines Sasha Waltz’s choreographic staging of Berlioz’s Roméo et Juliette for the Paris Opera Ballet from 2007. Waltz’s production reimagines one of the most canonical stories in the classical ballet repertoire through the abstract and fragmentary lens of contemporary dance. I trace how Waltz appropriates the post-modern principles of Contact Improvisation for purposes of balletic storytelling. Drawing from recent affect-focussed criticism in dance studies, I explore how Waltz uses the non-narrative relationality of Contact Improvisation to transform Shakespeare’s poetic constellations of affect into abstract, yet dramatically expressive choreographic embodiments of affect, especially in the Pas de deux during the “Scène d’amour”

AngelCast: cloud-based peer-assisted live streaming using optimized multi-tree construction

Increasingly, commercial content providers (CPs) offer streaming solutions using peer-to-peer (P2P) architectures, which promises significant scalabil- ity by leveraging clients’ upstream capacity. A major limitation of P2P live streaming is that playout rates are constrained by clients’ upstream capac- ities – typically much lower than downstream capacities – which limit the quality of the delivered stream. To leverage P2P architectures without sacri- ficing quality, CPs must commit additional resources to complement clients’ resources. In this work, we propose a cloud-based service AngelCast that enables CPs to complement P2P streaming. By subscribing to AngelCast, a CP is able to deploy extra resources (angel), on-demand from the cloud, to maintain a desirable stream quality. Angels do not download the whole stream, nor are they in possession of it. Rather, angels only relay the minimal fraction of the stream necessary to achieve the desired quality. We provide a lower bound on the minimum angel capacity needed to maintain a desired client bit-rate, and develop a fluid model construction to achieve it. Realizing the limitations of the fluid model construction, we design a practical multi- tree construction that captures the spirit of the optimal construction, and avoids its limitations. We present a prototype implementation of AngelCast, along with experimental results confirming the feasibility of our service.Supported in part by NSF awards #0720604, #0735974, #0820138, #0952145, #1012798 #1012798 #1430145 #1414119. (0720604 - NSF; 0735974 - NSF; 0820138 - NSF; 0952145 - NSF; 1012798 - NSF; 1430145 - NSF; 1414119 - NSF

CRUZANDO LA FRONTERA: CHOREOGRAPHING THE MEXICAN-AMERICAN IDENTITY

This dance project explores the consequences of assimilation on immigrants’ cultural practices and identity specifically for Mexican-Americans in Southern California. The dance project explores the crossing of borders through mixed contemporary and Mexican ballet folklorico dance styles in order to tell a story of immigrants trying, failing, and succeeding in crossing the U.S. and Mexico border. By exploring the integration of Western dance styles with Mexican ballet folklorico, this paper will analyze how Mexican identity, as expressed through dance or song, is maintained by immigrants to remain connected their culture, but is changed through the process of assimilation. Mexican ballet folklorico is at its base a fusion of indigenous ceremonial, social, and dance traditions with European folkloric traditions that has been used as a political tool to create national identity. Yet, until Ballet Folklorico de Mexico’s founding in the 1950’s, Mexican ballet folklorico, including folkloric songs, was performed in its traditional form, both in the US and Mexico, as a way to establish community and preserve tradition. One such example of this can be seen with the existence of the Mexican Players from Padua Hills in Claremont. However, once ballet folklorico was shared globally, many artists of Mexican ancestry have continuously found different ways to integrate non-folk art forms with traditional Mexican folk practices that often serve to represent a new, mixed identity. Some contemporary artists that have integrated various non-folk art forms with Mexican folk traditions include Alfonso Cervera, Ballet Nepantla, Primera Generación Dance Collective, and Las Cafeteras. For the Mexican-American ballet folklorico dancer, these artists who blend westernized dance styles with folk dance are important because they perform ballet folklorico for audiences with less exposure to folk traditions, and provide new ways of expressing the complexity of Mexican-American identity due to the need to assimilate. As such, the question examined here is how has the performance of traditional Mexican folk practices evolved over time and impacted the identity of those who have immigrated to the US

Combining inertial and visual sensing for human action recognition in tennis

In this paper, we present a framework for both the automatic extraction of the temporal location of tennis strokes within a match and the subsequent classification of these as being either a serve, forehand or backhand. We employ the use of low-cost visual sensing and low-cost inertial sensing to achieve these aims, whereby a single modality can be used or a fusion of both classification strategies can be adopted if both modalities are available within a given capture scenario. This flexibility allows the framework to be applicable to a variety of user scenarios and hardware infrastructures. Our proposed approach is quantitatively evaluated using data captured from elite tennis players. Results point to the extremely accurate performance of the proposed approach irrespective of input modality configuration