Issues of control and agency in contemplating Cunningham’s legacy

A discussion of Merce Cunningham’s 1967 work Scramble within the context of it being learned and performed by Laban students in London 2010. Cunningham’s significance to a new generation of dancers is considered drawing on discussions with the students and the Cunningham dancer and teacher, Patricia Lent, who set Scramble and is a trustee of the Cunningham legacy. In particular Cunningham’s approaches to dance, both in terms of his technique and choroegraphic methods, are examined in relation to how dance can embody both the potential and limits of human agency

Metacognitive Writing Strategies for Emerging Dancer-Scholars: Uncovering Supportive Links Between Academic Writing and Choreographic Processes

Canadian graduate programs in Dance at the Masters level frequently accept students with long professional careers in dance but limited academic background in writing essays. Writing term papers, with perhaps only dim memories of high school writing instruction to draw from, can pose challenging experiences for such emerging dancer-scholars. While long standing metacognitive reading strategies are commonly available to assist those new to graduate studies with interpreting their academic readings, no comparable metacognitive writing strategies appear in the literature to support an academic writing process. However, metacognition theory regarding the role of affect in monitoring and controlling ones progress through the completion of a task offers potential applications to support academic writing. Furthermore, re-imagining academic writing as an experience deeply informed by affect resonates with recent research into articulating the affective or felt sense understanding of ones creative processes in composing a choreographic work. Investigating connections between how dancers process composition tasks in the two disciplines revealed metacognitive processing parallels. The findings implied several considerations for designing a writing pedagogy specific to the needs of emerging dancer-scholars. This dissertation research with graduate dance students in Canada and the US incorporated ethnographic and educational action research approaches for identifying, addressing and documenting participants perceived essay writing problems. Initial group workshops prepared the participants for individual Case Study research sessions, which were characterized by practice-led research/research-led practice methods of generating, developing, performing and theorizing. The research investigated the howness of each participants writing process across a series of analytical writing assignments. Participants and I collaborated in uncovering the focus and potential structure for each paper using visual-spatial-dialoguing techniques. Participants expressed affective experiences during these video- or audio-taped sessions and in emailed reflections. Their gestural and verbal metaphors generated metacognitive knowledge about the source of writing frustrations versus the support provided by using familiar processing techniques from their choreographic practices. Their retrospective analyses demonstrated the participants metacognitive evolution from personal awareness to co- and self-regulated learning about the characteristic processing traits underlying their writing and choreographic practices. A comparative analysis of three Case Studies suggested metacognitive writing strategies for supporting emerging dancer-scholars

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Parallel Monitors for Self-adaptive Sessions

The paper presents a data-driven model of self-adaptivity for multiparty sessions. System choreography is prescribed by a global type. Participants are incarnated by processes associated with monitors, which control their behaviour. Each participant can access and modify a set of global data, which are able to trigger adaptations in the presence of critical changes of values. The use of the parallel composition for building global types, monitors and processes enables a significant degree of flexibility: an adaptation step can dynamically reconfigure a set of participants only, without altering the remaining participants, even if the two groups communicate.Comment: In Proceedings PLACES 2016, arXiv:1606.0540

Behavioral types in programming languages

A recent trend in programming language research is to use behav- ioral type theory to ensure various correctness properties of large- scale, communication-intensive systems. Behavioral types encompass concepts such as interfaces, communication protocols, contracts, and choreography. The successful application of behavioral types requires a solid understanding of several practical aspects, from their represen- tation in a concrete programming language, to their integration with other programming constructs such as methods and functions, to de- sign and monitoring methodologies that take behaviors into account. This survey provides an overview of the state of the art of these aspects, which we summarize as the pragmatics of behavioral types

Using College Student Learning Experiences and Outcomes to Guide Teaching Modifications in a General Education Choreography Course: An Action Research Study

The purpose of this action research study was to gain an understanding of the learning experiences and outcomes of 12 undergraduates enrolled in Creative Dance, a general education choreography course, in Fall 2019 and the teaching strategies and practices that guided their learning. Research questions that guided this study were: what does student work reveal about their learning and the teaching strategies that guide their learning? and what curricula and teaching changes will more effectively facilitate student learning processes and stronger outcomes? Qualitative data included standard instructional materials created for and utilized in the course and students’ choreographic and written work. The teacher-researcher coded, analyzed, and interpreted the data within three subareas of student learning: cognitive domain of learning, development of physical skills in relationship with choreography and performance, and affective responses to learning experiences. Plans for modifications of teaching materials, strategies, and practices for Fall 2020 to improve facilitation of emerging adult learning of choreography were outcomes of this research. Interpretation of findings revealed the need for teaching modifications to support (a) the interrelationships between thinking, moving, and feeling; (b) learning as a cyclical process; and (c) learning as a social process more strongly using both Kolb’s (2015) Learning Cycle and Arnett’s (2000) Theory of Emerging Adulthood as a theoretical foundation. This study contributes to dance education and the wider field of higher education by serving as an example of critically reflective teaching and course design that used student experiences to guide teaching modifications

Barge culture : the ebb and flow of cultural traffic

Early moving image devices and viewing apparatus more often than not used the city as their muse. Displaying and re-representing urban views, they revealed the spaces of illusion in our everyday environment, offering prefilmic spectacles to a receptive public. Social as much as than architectural, this interest in observing our immediate environment has provided us with a rich history of the relationship between architecture and the human body. Early films such as Vertov's Man With a Movie Camera and Laing's Metropolis create an interplay between the viewer and their spatiotemporal confines. The ability in film to manipulate time through freeze framing and slowing, and the multiplication and acceleration of movement, renders time as something elastic and magical. In the structures of many modern films such as Memento and Mulholland Drive, narrative structures are played with and chopped up, representing in themselves a fracturing of thought in different space-time structures. This paper reflects on urbanism and the ways in which artists use the city, revealing abstract notions of cultural use. It presents a curated project and a selection of works which map the city in different ways. </p

Kehollistuneet vuorovaikutuskoreografiat. Kinesteettinen lähestymistapa älykkäiden ympäristöjen suunnitteluun

Research investigates interaction design through application of the concept of choreography. Special attention is paid to assess what kind of influences technological designs have on the user’s body and movements. Choreographic approach to interaction design emphasizes the felt experience of movement as content to interaction design and offers methods for conducting multi-level choreographic analysis. The concept of kinesthesia, which refers to the felt sensation of movement, is regarded as the foundational concept for both understanding and realizing the choreographic analysis. Choreographic method is applied in studying a future vision of intelligent information and communication environments. Intelligent environment refers to development where objects in everyday environments become connected and form a communicating-actuating network that possess abilities to collect information on the environment and of its users, and enables processing of this information for serving the user’s needs. The research data consists of two visions on intelligent environments in video format, introduced by Microsoft. Visions are analyzed through choreographic analysis with intention to investigate interactions between the user, the intelligent environment and the computer system. Micro level choreography analysis focuses on how the user experiences choreographies as movement continuums. Also local level choreographies that address the broader interaction context will be analyzed. Task based analysis focuses on two functions, first, sending and fetching digital information and, second, real time re-modelling of data and visualizations. Phenomenological methodology that enabled embodiment of the choreographies through dancing was applied in the analysis. Dancing aimed at internalizing the choreographies and enabled the analysis of felt sensation of movement. Key finding of the study is that choreographic analysis and hermeneutics of the body work well to be utilized in tandem in conducting a case study research on intelligent ICT environments. Dancing is considered as choreographic practice that provides understanding on the unfolding of interactions in space, time and movement. Furthermore, dancing integrates the designer’s explicit technological information to the design context and highlights the kinesthetic dimension of interaction. Presented methods provide relevant support for defining technological systems in intelligent ICT environments that are grounded in the embodied experience of interaction. I suggest that ‘dancing as choreographic practice’ is to be applied in user-centered design of intelligent information and communication environments.Tutkimus tarkastelee vuorovaikutussuunnittelua koreografian käsitteen kautta. Koreografinen lähestymistapa tarkastelee teknologian kokonaisvaltaista ohjausvaikutusta käyttäjän liikkeeseen teknologian käyttötilanteessa. Koreografinen suunnitteluote korostaa liikkeen kokemuksen huomioimisen tärkeyttä vuorovaikutussuunnittelussa ja tarjoaa menetelmiä monitasoisen vuorovaikutusanalyysin toteuttamiseen. Kinestesian käsite, jolla tarkoitetaan liikkeen kokemista kehossa, nousee yhdeksi koreografisen lähestymistavan keskeisistä käsitteistä. Sovellan koreografista menetelmää tulevaisuuden älykästä informaatio- ja kommunikaatioympäristöä kuvaavan vision tutkimiseen. Älykkäällä ympäristöllä viittaan kehityskulkuun, jossa jokapäiväisissä ympäristöissämme läsnä oleva teknologia verkottuu, kykenee keräämään ja jakamaan tietoa ympäristöstä ja käyttäjistä sekä mahdollistaa tiedon jalostuksen käyttäjän tarpeita palvelevalla tavalla. Aineistona on käytetty Microsoftin teknologiavisioita, joissa esitetyt kuvaukset älykkäistä ympäristöistä sekä esimerkit käyttäjän ja teknologian välisistä liikkeellisistä vuorovaikutuksista nousevat analyysin kohteeksi. Analyysissa keskitytään ensinnäkin käyttäjän toteuttamien mikroliikkeiden jatkumon kokemuksen analyysiin. Toiseksi analysoidaan yksilön kokemusta paikallisen tason koreografioissa. Tällä analyysitasolla huomiota kiinnitetään teknologista vuorovaikutusta laajemman vuorovaikutustapahtuman kontekstiin jolloin mm. sosiaaliset tapahtumat ja tilan vaikutus vuorovaikutukseen tulevat huomioiduksi. Analyysi toteutetaan tehtäväperusteisena ja analyysi käsittää kaksi toimintoa: tiedostojen jakaminen ja vastaanottaminen sekä datan ja visualisointien muokkaus. Toteutin tutkimuksen nojaten fenomenologiseen metodologiaan, joka mahdollisti koreografioiden henkilökohtaisen omaksumisen tanssin eli tutkimuksen kohteena olevien vuorovaikutustapojen kehollisen harjoittamisen kautta. Teknologiavisioissa esitetyn liikemateriaalin perusteella jäsentyi koreografia, jonka tanssiminen mahdollisti liiketiedon sisäistämisen ja vuorovaikutusten kehollisesti koettujen ulottuvuuksien arvioinnin. Tutkimus osoitti koreografisen analyysin ja osittain tanssimalla toteutetun ruumiin hermeneuttisen lähestymistavan soveltuvan hyvin sovellettavaksi yhdessä älykästä ympäristöä käsittelevässä tapaustutkimuksessa. Tutkimuksen johtopäätöksenä koreografisen menetelmän ja vuorovaikutusten kehollisen harjoittamisen todetaan auttavan suunnittelijaa tilassa, ajassa ja liikkeessä tapahtuvien vuorovaikutusten jäsentämisessä, ja arvioimaan miten teknologisen järjestelmän suunnitteluratkaisut vaikuttavat käyttäjän kehoon ja liikkeeseen vuorovaikutustapahtumassa. Esitän ’tanssimista koreografisena käytäntönä’ sovellettavaksi älykkäiden ympäristöjen käyttäjäkeskeisen suunnittelun menetelmänä