Choreography in IRS-III – coping with heterogeneous interaction patterns in web services

In this paper we describe how we handle heterogeneity in web service interaction through a choreography mechanism that we have developed for IRS-III. IRS-III is a framework and platform for developing semantic web services which utilizes the WSMO ontology. The overall design of our choreography framework is based on: the use of ontologies and state, IRS-III playing the role of a broker, differentiating between communication direction and which actor has the initiative, having representations which can be executed, a formal semantics, and the ability to suspend communication. Our framework has a full implementation which we illustrate through an example application

Ontology-based composition and matching for dynamic cloud service coordination

Recent cross-organisational software service offerings, such as cloud computing, create higher integration needs. In particular, services are combined through brokers and mediators, solutions to allow individual services to collaborate and their interaction to be coordinated are required. The need to address dynamic management - caused by cloud and on-demand environments - can be addressed through service coordination based on ontology-based composition and matching techniques. Our solution to composition and matching utilises a service coordination space that acts as a passive infrastructure for collaboration where users submit requests that are then selected and taken on by providers. We discuss the information models and the coordination principles of such a collaboration environment in terms of an ontology and its underlying description logics. We provide ontology-based solutions for structural composition of descriptions and matching between requested and provided services

Flexible coordination techniques for dynamic cloud service collaboration

The provision of individual, but also composed services is central in cloud service provisioning. We describe a framework for the coordination of cloud services, based on a tuple‐space architecture which uses an ontology to describe the services. Current techniques for service collaboration offer limited scope for flexibility. They are based on statically describing and compositing services. With the open nature of the web and cloud services, the need for a more flexible, dynamic approach to service coordination becomes evident. In order to support open communities of service providers, there should be the option for these providers to offer and withdraw their services to/from the community. For this to be realised, there needs to be a degree of self‐organisation. Our techniques for coordination and service matching aim to achieve this through matching goal‐oriented service requests with providers that advertise their offerings dynamically. Scalability of the solution is a particular concern that will be evaluated in detail

The Three Ecologies. Writing experimental, site based, responsive narrative for the screen. Ecology, 97 mins, 2007, Perestroika, 118 mins, 2009/10, Public House, 96 mins, 2015/16

The genesis for all three of my feature films, Ecology, Perestroika and Public House, was the challenge of an experimental writing project, which in each case sought to map new connections, within genre and innovate through structural interdependencies that fuse form and content. All three films evolved through responsive writing processes, which were, crucially, responsive to place, and all were further enabled by a responsive and reflexive use of digital technologies. In this thesis I will map some of the broad interwoven areas of concern and some of the frameworks of reference and enquiry, before discussing each film in detail

I Stood Before the Source

''Capitalism’s representations are ubiquitous; less so are representations of capitalism. I stood before the source traverses varied contemporary scenes of accumulation, from data centres to tar sands, airports, prisons, trading bots, factories, mobile communication, vacant offices inhabited by speculation, earth’s atmosphere, and beyond. The exhibition features work that maps tightly integrated circuits of global political-economic power; tracks vast accumulations of dead labour as technological infrastructure; listens in on the plunge of financial markets; choreographs divisions of labour in commodity production; descends into the open pits of the stock exchange; and stages injuries of accumulation as extinction.'' -- Publisher's websit

Exercise: Les Noces translation as a mode of performative postproduction and the historical dialogue between dance and visual art

This research proposes ‘translation,’ as opposed to other appropriating strategies, as a theory and practice which invites the possibility of performative postproduction throughout the making, performing and attending of dance. Translation theory is proposed as a model for reading dance works as well as a choreographing tool for making postproduction works which use historical citation and/ or are hybrid choreographic projects between forms and mediums. In this thesis, translation theory is used to discuss Bronislava Nijinska’s Les Noces (1923) as a modernist choreographic work which renews notions of dance and movement through consideration of the project of the Russian avant-garde. Subsequently, translation theory forms the choreographic method through which I am able to translate Les Noces into Exercise: Les Noces (2017). Exercise: Les Noces is not just a historical project, and thus, it is not a reconstruction, revival or reworking of the original ballet. Exercise: Les Noces is not a gallery installation either which adapts a ballet work to a visual art platform. This thesis proposes Exercise: Les Noces as a ‘choreographic site’; as the site where different authorial voices, different temporalities, different mediums and texts are invited to co-exist in the tension between two extremes: their total presence and total absence and as such to negotiate and possibly change their form and meaning. Thus, translation is proposed as a transhistorical and interdisciplinary choreographic theory, method and practice which works towards the expansion of the mediums involved with a view to engaging them in a new cultural and historical milieu

Insubordinate Costume

Working as a costume designer/maker I became increasingly interested in the agency and power of costume and the different ways costumes can transform the performing body, override fixed boundaries and subvert the traditional hierarchies of the theatre where the costume designer/maker is typically required to accommodate the wishes of the director or choreographer. The costumes in this study are the antitheses of subordinate costume, which is often dictated to by practicalities, or placed within the confines of text, directorial notions, predefined choreography or the passive function of dressing actors. In this research, I examine historical and contemporary examples of scenographic costume: the type of costume that creates an almost complete stage environment by itself, simultaneously acting as costume, set and performance. With reference to theories of play and creativity, I explore the way costume can be used as a research tool and investigate how playing with my modular Insubordinate Costumes enables different creative interpretations and offers diverse dramaturgical possibilities. The term Insubordinate Costume evolved from my research and is used to reflect the defiant, rebellious and unruly nature of costume when it flouts practicalities and textual confines to embrace the role of protagonist. In order to explore the agency of my Insubordinate Costumes, I developed flat-pack modular pieces which can be constructed in different ways and organised workshops with both single performers and small groups in order to analyse a range of different approaches to performance making. The rule of play is essential to the approach to these costumes, both in the playful essence of the costume and in the way the body interacts with it. Although the modular pieces are always the same, the resulting sculptural forms created by each performer have always been unique, as have their performances

The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe

This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991). It explores how performers across different company cultures perform and conceptualise several solo roles in these works. The research focuses on the dancers from the choreographers ’ resident troupes (New York City Ballet, Ballett Frankfurt), and performers in the productions by several international repertory companies. The thesis is structured as a discursive, analytical space that merges two distinct vantage points: that of the spectator and of the performer. Dancers in this thesis, therefore, are not passive subjects, but important contributors and narrators of their individual processes and experiences. The study functions as a meeting place, bringing to light the links between the performer’s ideas and the spectator’s perception of the dance. The methodology integrate

Framing dance writing : a corpus linguistics approach

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