Kinetic Sculpture in Theatre and Live Entertainment

Technology dominates contemporary “theatre,” but the theatre is often the last industry to see innovations. Instead, the technical field operates on leftovers from entertainment, visual art, or industrial settings. The technological differences between these areas begin to blur; the differences lay only in their execution and intention. Some companies such as Cirque du Soliel, Diavolo, and Chunky Move blend technology and performance until the two become indivisible. This technology is being developed in an effort to lessen boundaries and create new opportunities that could not otherwise happen onstage. Through this thesis I will develop a basic understanding of the machinery and software platforms used to create kinetic rain sculpture, it’s uses in visual art versus industrial settings, and how this can manifest in live theatre. A case study of Chunky Move’s piece Connected examines what happens when machinery is subtracted and integrated with human artists; how it can elevate and transcend beyond the performer. I will also examine how these elements interact between performers, choreographers and technicians; and how each are educated, trained and integrated with technology throughout the rehearsal process. Then I will use my understanding of kinetic rain’s mechanics to predict new ways this system can be used as a scenic element and for stage action

A Shift in The Meaning of Deer Head Sculpture in Javanese House Interior

Kejawen community of Java, syncretism from Java, Hinduism, Buddhism, and Islam possess many kinds decoration in their houses (Javanese houses). One of them is deer head sculpture. Even though it is an imported culture, the deer head sculpture can be easily accepted by the Javanese people because references regarding deer story have been found since the old time. Even though related to deer are quite common, there has not been any research on the shift in the meaning of deer in the context of Javanese culture. The method used in this study is qualitative research with the paradigm interpretation. The results of the analysis found that the deer head sculpture, which was originally a preserved and displayed ravin at home as a symbol of prestige, has a connection with Hindu culture, Majapahit culture, Mataram dynasty royal regalia, and Javanese (commonner) Javanese culture. In the context of today\u27s modern culture, deer head sculptures are displayed in today\u27s interiors to present a traditional atmosphere and for the sake of nostalgia Keywords meaning, deer head sculture, Javanese hous

From morphology to molecules: A combined source approach to untangle the taxonomy of Clessinia (Gastropoda, Odontostomidae), endemic land snails from the Dry Chaco ecoregion

Background: Land gastropods of the Dry Chaco merit special attention because they comprise a highly diverse but barely studied group. Clessinia Doering, 1875 are typical inhabitants of this ecoregion. The inclusion of their distribution areas into Spixia range, their shell shape similarities, and a former molecular study raised doubts on the monophyly of this genus. The present study review the species of Clessinia, under a morphological, geometric morphometrics, and molecular combined approach. Methods: Adults were collected, photographed, measured, and dissected for anatomical studies. Shell ultrastructure was studied with scanning electron microscope. Geometric morphometric analyses on shells were performed testing if they gave complementary information to anatomy. Two mitochondrial genes, and a nuclear region were studied. Phylogenetic reconstructions to explore the relationships of DNA sequences here obtained to those of Clessinia and Spixia species from GenBank were performed. Results: Species description on shell, periostracal ornamentation and anatomy is provided. We raised former Clessinia cordovana striata to species rank, naming it as Clessinia tulumbensis sp. nov. The periostracum, consisting of hairs and lamellae, has taxonomic importance for species identification. Shell morphometric analyses, inner sculpture of penis and proportion of the epiphallus and penis, were useful tools to species identification. Nuclear markers do not exhibit enough genetic variation to determine species relationships. Based on the mitochondrial markers, genetic distances among Clessinia species were greater than 10%, and while C. cordovana, C. nattkemperi, and C. pagoda were recognized as distinct evolutionary genetic species, the distinction between C. stelzneri and C. tulumbensis sp. nov. was not evident. Clessinia and Spixia were paraphyletic in the molecular phylogenetic analyses. Species of Clessinia here treated have narrow distributional areas and are endemic to the Chaco Serrano subecoregion, restricted to small patches within the Dry Chaco. Clessinia and Spixia are synonymous, and the valid name of the taxon should be Clessinia Doering, 1875 which has priority over Spixia Pilsbry & Vanatta, 1894. Discussion: Our results support the composition of C. cordovana complex by three species, C. cordovana, C. stelzneri, and C. tulumbensis sp. nov. The low genetic divergence between C. stelzneri and C. tulumbensis sp. nov. suggests that they have evolved relatively recently. The former Spixia and Clessinia are externally distinguished because Clessinia has a detached aperture from the body whorl forming a cornet, periostracal microsculpture extended over dorsal portion of the peristome, five inner teeth on the shell aperture instead of three–four found in Spixia. Morphological similarities exists between both genera in shell shape, type of periostracum microsculpture, reproductive anatomy, besides the overlap in geographic ranges.Fil: Cuezzo, Maria Gabriela. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Tucumán. Instituto de Biodiversidad Neotropical. Universidad Nacional de Tucumán. Facultad de Ciencias Naturales e Instituto Miguel Lillo. Instituto de Biodiversidad Neotropical. Instituto de Biodiversidad Neotropical; ArgentinaFil: Miranda, Maria Jose. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Tucumán. Instituto de Biodiversidad Neotropical. Universidad Nacional de Tucumán. Facultad de Ciencias Naturales e Instituto Miguel Lillo. Instituto de Biodiversidad Neotropical. Instituto de Biodiversidad Neotropical; ArgentinaFil: Vogler, Roberto Eugenio. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Nordeste. Instituto de Biología Subtropical. Universidad Nacional de Misiones. Instituto de Biología Subtropical; ArgentinaFil: Beltramino, Ariel Anibal. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Nordeste. Instituto de Biología Subtropical. Universidad Nacional de Misiones. Instituto de Biología Subtropical; Argentin

Ant Tribe

Ant Tribe describes the post-80s generation university graduates who live together in poor conditions without Social security in communities around China\u27s major metropolises. They dream of a better life in big cities but struggle with low-paying jobs. These struggling elites have become the fourth weak Social group, after peasants, migrant workers and unemployed people. The reason why these college graduates are compared to ants is that they are like ants: clever, hardworking, politically weak and living in groups. The real world is always different from the ideal world of the Ant Tribe in China. They often lose their purposes in a complex society. It is more important for them to recognize the distance between the real and imaginary in order to rethink whether it is a right choice to stay in a big city and try to realize their dreams. The intention of the Ant Tribe installation is to explore the process and concept of changing between the real and fantasy. In the installation, I hope to portray the Ant Tribe phenomenon widely and deeply from an artist\u27s perspective. The most important thing for me is using my artistic practice to investigate the power of the media over the contemporary subject in order to activate the viewers to question some Social issues regarding humanity consciousness. My artwork should be thought - provoking for them. I would like to use my visual language to convey specific Social issues to inquire how far the viewers are from their dreams. I hope they think about themselves in their complex society physically and psychologically when they go through my work

Laminated PAINT

Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand

Papua New Guinea

Undergraduate 3-

Talking about a Christine Borland sculpture: effective empathy in contemporary anatomy art (and an emerging counterpart in medical training?)

This Introduction and interview discusses the poetical and empathic insights that are a key to the effectiveness of contemporary artist Christine Borland's practice and its relevance to the medical humanities, visual art research and medical students’ training. It takes place in a context of intensive interest in reciprocity and conversation as well as expert exchange between the fields of Medicine and Contemporary Arts. The interview develops an understanding of medical research and the application of its historical resources and contemporary practice-based research in contemporary art gallery exhibitions. Artists tend not to follow prescriptive programmes towards new historical knowledge, however, a desire to form productive relationships between history and contemporary art practice does reveal practical advantages. Borland's research also includes investigations in anatomy, medical practices and conservatio

WP - liu hua

An installation commenting on the tragic death of a Chinese student studying at Wimbledon College of Arts and the historical relationship between China and Europe, referencing Orientalism, Chinoiserie and the Willow Pattern design