Stronger computational modelling of signalling pathways using both continuous and discrete-state methods

Starting from a biochemical signalling pathway model expresses in a process algebra enriched with quantitative information, we automatically derive both continuous-space and discrete-space representations suitable for numerical evaluation. We compare results obtained using approximate stochastic simulation thereby exposing a flaw in the use of the differentiation procedure producing misleading results

XRound : A reversible template language and its application in model-based security analysis

Successful analysis of the models used in Model-Driven Development requires the ability to synthesise the results of analysis and automatically integrate these results with the models themselves. This paper presents a reversible template language called XRound which supports round-trip transformations between models and the logic used to encode system properties. A template processor that supports the language is described, and the use of the template language is illustrated by its application in an analysis workbench, designed to support analysis of security properties of UML and MOF-based models. As a result of using reversible templates, it is possible to seamlessly and automatically integrate the results of a security analysis with a model. (C) 2008 Elsevier B.V. All rights reserved

Supporting user-oriented analysis for multi-view domain-specific visual languages

This is the post-print version of the final paper published in Information and Software Technology. The published article is available from the link below. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. Copyright @ 2008 Elsevier B.V.The integration of usable and flexible analysis support in modelling environments is a key success factor in Model-Driven Development. In this paradigm, models are the core asset from which code is automatically generated, and thus ensuring model correctness is a fundamental quality control activity. For this purpose, a common approach is to transform the system models into formal semantic domains for verification. However, if the analysis results are not shown in a proper way to the end-user (e.g. in terms of the original language) they may become useless. In this paper we present a novel DSVL called BaVeL that facilitates the flexible annotation of verification results obtained in semantic domains to different formats, including the context of the original language. BaVeL is used in combination with a consistency framework, providing support for all steps in a verification process: acquisition of additional input data, transformation of the system models into semantic domains, verification, and flexible annotation of analysis results. The approach has been validated analytically by the cognitive dimensions framework, and empirically by its implementation and application to several DSVLs. Here we present a case study of a notation in the area of Digital Libraries, where the analysis is performed by transformations into Petri nets and a process algebra.Spanish Ministry of Education and Science and MODUWEB

A HYPHENATED CAREER: SUSTAINABLE PATHWAYS FOR DANCERS

Despite the rich cultural and artistic contributions of dancers, there exists a pressing need to comprehensively address the challenges and complexities surrounding the sustainability of careers in dance due to underemployment, underpayment, data undercounting and physical strain. This dissertation research aims to understand occupational trajectories that build a sustainable career for dancers. Through a historical examination of the professionalization of dance and an investigation of current career opportunities, this study investigates the growing support systems for dancers, the influence of occupational identity, and the workplace environments needed to sustain a dance career. Occupational identity theory, motivation-hygiene theory, and transaction cost theory are utilized to examine a dancer’s reasoning for selecting a career in dance and the skills and support systems needed to sustain this profession. A convergent mixed methods design was utilized combining qualitative research through a national dance sector survey, and qualitative research through document analysis of equitable contracting documents created by the Association of Performing Arts Professionals (APAP), Creating New Futures, and Dance/USA. By accessing data from multiple sources, this mixed methods approach illuminates the evolution of the dance industry, how dancers identify themselves, the reasoning behind their career choices, and the effects on the sustainability of a dancer\u27s career. Achieving sustainability in a dance career requires a multi-hyphenate approach that extends beyond traditional performance roles. The survey results emphasize the prevalence of dancers engaging in hyphenated careers, with a majority holding multiple occupations inside and outside of the dance sector. While dance performer (dancer) remains the primary identity for many dancers, pursuing secondary incomes, particularly in dance education, is suggested to be crucial for financial stability. The evolving terrain of contracting practices, influenced by national working groups for equitable contracts, demonstrate increased transparency and fair compensation for all labor performed throughout the creative process. Beyond financial considerations, this research found that holistic sustainability necessitates supportive work environments, ongoing education, and resources prioritizing a dancer’s well-being

Modern Art and Modern Movement: Images of Dance in American Art, c. 1900-1950

"Modern Art and Modern Movement: Images of Dance in American Art, c. 1900-1950," considers the intersections and interrelations of two of the major artistic developments of the twentieth century, modern dance and modern art, through an examination of the paintings, sculptures, photographs, and drawings that engage simultaneously with these developing art forms. The first chapter introduces cultural attitudes toward dance performances in the United States at the beginning of the twentieth century with an examination of Everett Shinn's, Louis Kronberg's, and Malvina Hoffman's depictions of European ballet dancers, such as Russian Anna Pavlova. Chapter two discusses images of Isadora Duncan, the mother of modern dance, created by Abraham Walkowitz, John Sloan, Robert Henri, and Arthur B. Davies. Constructs of "Orientalism" and "the Other" in images of dance created by Paul Manship, Gaston Lachaise, and Alexander Calder, artists who felt the influence of the Indian dances of Ruth St. Denis and Ted Shawn and l'art n�_��gre fervor surrounding Josephine Baker, respectively, make up chapter three. Chapter four examines the of art of H. Lyman Sayen, Stanton Macdonald-Wright, Morgan Russell, and Franz Kline who were inspired by the Ballets Russes's lavish productions and consequently sought to convey the relationship between dance, costume, music, and set. Chapter five discusses depictions of the prolific choreographer and modern dancer Martha Graham by photographer Barbara Morgan, painter Paul Meltsner, and sculptors David Smith and Louise Nevelson. The concluding chapter examines the gestural abstractions of Jackson Pollock and the mobiles of Alexander Calder; artists who were not responding to individual dancers or specific dance styles, but whose involvement with dance was at a much more basic level. Pollock and Calder incorporated the fundamental element of dance, movement through time, into their works of art

Moving across page, stage, canvas: theatrical dance as a form of intermedial translation

This thesis examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s choreography for the ESD company Froth on the Daydream (2018), as examples of intermedial translations into dance. In doing so, it proposes a conceptualization of translation through the lens of theatrical dance. In the last decade, the concepts of multimodality and intermediality have prompted a revision of inherited notions of text, language, and translation. This has led translation scholars to stretch their definition of translation so as to include text produced in and through other media, including dance. A number of articles and book chapters from the fields of Dance, Literary, Intermedial and Translation Studies have been published that make the case for the usefulness of the concept of translation for interpreting dance performances. Building on these works, this thesis reverses the question and asks how theatrical dance can help us understand intermedial translation. It does so by mapping the “implicative complex” (Tyulenev, 2010: 241-242) of dance, such as creativity, ephemerality, and the dramaturgy of bodies, onto the realm of translation. The theoretical framework is tested on two very different case studies: Chouinard’s choreography is based on Hieronymus Bosch’s painting The Garden of Earthly Delights, while Geffré’s on Boris Vian’s novel L’Écume de Jours. The methodology combines live attendance at the performances with footage analysis and ethnographic methods such as semi-structured interviews and participant observations. The first case-study focuses on issues of agency in translation, while the second looks at the way in which intermedial translations constitute “performative acts of memory” (Plate and Smelik, 2013: 2), comparing Geffré’s choreography with previous intermedial translations of Vian’s novel into film, opera, and graphic novel. Translation emerges as a creative and corporeal (and therefore political) practice deeply intertwined with issues of memory and struggles for representation. The analysis of the case-studies, together with the theoretical work that precedes it, contributes towards a redefinition of translation within the field of Translation Studies.Esta tese analisa duas obras de dança contemporânea como exemplos de traduções intermediais: Jérôme Bosch: Le Jardin des Délices (2016) de Marie Chouinard e a coreografia Froth on the Daydream (2018) de Mathieu Geffré para a companhia ESD. Propõe-se aqui uma conceptualização da tradução através das lentes da dança teatral. Na última década, os conceitos de multimodalidade e intermedialidade levaram a uma revisão das noções herdadas de texto, linguagem e tradução. Como consequência, várias investigadoras da área de tradução ampliaram a própria definição de “tradução”, incluindo textos produzidos por outras meios, como, por exemplo, a dança. Ao mesmo tempo, numerosos trabalhos foram publicados nas áreas dos Estudos de Dança, de Literatura, de Intermedialidade e de Tradução, apontando para a utilidade do conceito de tradução na interpretação de apresentações de dança. Baseando-se neste corpus teórico, a tese inverte a questão e pergunta como é que a dança teatral nos pode ajudar a entender a tradução intermedial. Isto é feito mapeando o “implicative complex” (Tyulenev, 2010: 241-242) da dança, como a criatividade, a efemeridade e a dramaturgia dos corpos, no domínio da tradução. O quadro teórico assim construído é testado em dois casos de estudo muito diferentes: a coreografia de Chouinard, baseada na pintura O Jardim das Delícias de Hieronymus Bosch e a coreografia de Geffré, criada a partir do romance de Boris Vian, A Espuma dos Dias. A metodologia combina a visão ao vivo das performances e a análise de filmagens com métodos etnográficos, entre os quais entrevistas semiestruturadas e observação de participantes. Se, por um lado, o primeiro caso de estudo se concentra em questões de agenciamento na tradução, por outro, o segundo examina como as traduções intermediais constituem "atos performativos de memória" (Plate e Smelik, 2013: 2, tradução minha), comparando a coreografia de Geffré com outras traduções intermediais do livro de Vian para cinema, ópera e romance gráfico. A tradução surge como uma prática criativa e corporal (e, portanto, política) profundamente entrelaçada com questões de memória e a luta pela representação. A análise dos casos de estudo, juntamente com o enquadramento teórico, contribui para uma redefinição da tradução no âmbito dos Estudos de Tradução

Laban Movement Analysis as a Methodology for Promoting Creativity and the Arts Across the Curriculum

The purpose of this qualitative participatory action-research study was to explore how four elementary school teachers incorporated Laban Movement Analysis (LMA) methodology, in particular the eight Effort Qualities (Dell, 1977) (light/soft or strong/powerful, fast/quick or slow/sustained, direct or indirect/flexible, and bound/close or free/open), across their curriculum and instruction. The study took place at both an urban parochial elementary school and an urban private school. Stories were collected through interviews, journals, lesson plans, e-mails, mail, and photos using a qualitative methodology over a period of 2½ months. Teachers came up with their own research questions and answered them throughout the study. In the final collaborative analysis (both participants and researcher) findings showed that when the teachers incorporated LMA in their curriculum and instruction, they became more creative, observant, and articulate and had a better understanding of human movement and expression. Results from the study indicated that for all four teachers, when exploring and incorporating LMA in their pedagogy, improvements occurred in pacing, movement, and expression as well as a better understanding of their behavior. In addition, teachers using LMA implemented more creativity and arts into non-arts disciplines, which enhanced and deepened their student\u27s motivation, expression, and learning capacity