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choreography</title> <meta name="description" content="Search results for: choreography"> <meta name="keywords" content="choreography"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="choreography"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 11</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: choreography</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Intertextuality in Choreography: Investigation of Text and Movements in Making Choreography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Fairul%20Azreen%20Mohd%20Zahid">Muhammad Fairul Azreen Mohd Zahid</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Speech, text, and movement intensify aspects of creating choreography by connecting with emotional entanglements, tradition, literature, and other texts. This research focuses on the practice as research that will prioritise the choreography process as an inquiry approach. With the driven context, the study intervenes in critical conjunctions of choreographic theory, bringing together new reflections on the moving body, spaces of action, as well as intertextuality between text and movements in making choreography. Throughout the process, the researcher will introduce the level of deliberation from speech through movements and text to express emotion within a narrative context of an “illocutionary act.” This practice as research will produce a different meaning from the “utterance text” to “utterance movements” in the perspective of speech acts theory by J.L Austin based on fragmented text from “pidato adat” which has been used as opening speech in Randai. Looking at the theory of deconstruction by Jacque Derrida also will give a different meaning from the text. Nevertheless, the process of creating the choreography will also help to lay the basic normative structure implicit in “constative” (statement text/movement) and “performative” (command text/movement). Through this process, the researcher will also look at several methods of using text from two works by Joseph Gonzales, “Becoming King-The Pakyung Revisited” and Crystal Pite's “The Statement,” as references to produce different methods in making choreography. The perspective from the semiotic foundation will support how occurrences within dance discourses as texts through a semiotic lens. The method used in this research is qualitative, which includes an interview and simulation of the concept to get an outcome. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=intertextuality" title="intertextuality">intertextuality</a>, <a href="https://publications.waset.org/abstracts/search?q=choreography" title=" choreography"> choreography</a>, <a href="https://publications.waset.org/abstracts/search?q=speech%20act" title=" speech act"> speech act</a>, <a href="https://publications.waset.org/abstracts/search?q=performative" title=" performative"> performative</a>, <a href="https://publications.waset.org/abstracts/search?q=deconstruction" title=" deconstruction"> deconstruction</a> </p> <a href="https://publications.waset.org/abstracts/154831/intertextuality-in-choreography-investigation-of-text-and-movements-in-making-choreography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154831.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">96</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">10</span> Implementing Text Using Political and Current Issues to Create Choreography: “The Pledge 2.0”</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Fairul%20Azreen%20bin%20Mohd%20Zahid">Muhammad Fairul Azreen bin Mohd Zahid</a>, <a href="https://publications.waset.org/abstracts/search?q=Melissa%20Querk"> Melissa Querk</a>, <a href="https://publications.waset.org/abstracts/search?q=Aimi%20Nabila%20bt%20Anizaim"> Aimi Nabila bt Anizaim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For this particular research, the focus is based on the practice as research which will produce a choreography as the outcome. The ideas organically develop as an “epiphany” from the meeting, brainstorming, or situation that revolves around surroundings. In this study, the researchers are approaching the national pillar of Malaysia known as ‘Rukun Negara’ to develop a choreographic idea. The concept theory of Speech Act by J.L Austin is used to compose the choreography alongside with national pillar ‘Rukun Negara’ as a guideline for a contemporary work titled, The Pledge 2.0, besides fostering the spirit of unity. These approaches will offer flexibility in creating a choreography piece. The pledge has crossed the boundaries by using texts and heavy issues in choreography developments. It will emphasize the concept of delivering the speech via verbal and nonverbal body language. Besides using the Theory of Speech Acts, the development process of creating this piece will lay the bare normative structure implicit in performance practice. Converging current issues into the final choreographic piece for this research is vital as this research will explore a few choreography methods from different perspectives. Hence, the audience will be able to see the world of dance that always revolves in line with the diachronic process in many ways. The method used in this research is qualitative, which will be used in finding the movement that fits the given facts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title="performing arts">performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=speech%20act" title=" speech act"> speech act</a>, <a href="https://publications.waset.org/abstracts/search?q=performative" title=" performative"> performative</a>, <a href="https://publications.waset.org/abstracts/search?q=nationalism" title=" nationalism"> nationalism</a>, <a href="https://publications.waset.org/abstracts/search?q=choreography" title=" choreography"> choreography</a>, <a href="https://publications.waset.org/abstracts/search?q=politic%20in%20dance" title=" politic in dance"> politic in dance</a> </p> <a href="https://publications.waset.org/abstracts/154834/implementing-text-using-political-and-current-issues-to-create-choreography-the-pledge-20" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154834.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">84</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> Constructing Notation for Music Learning in Athletes: Identifying Key Concepts in Music and Body Movements</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fung%20Chiat%20Loo">Fung Chiat Loo</a>, <a href="https://publications.waset.org/abstracts/search?q=Fung%20Ying%20Loo"> Fung Ying Loo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper discusses, suggests, and constructs a notation system to facilitate the learning and understanding of the two aspects of music and movement in a sports routine. This model serves to provide a simple and logical notation that does not require training in both music and choreography. Notation is an important medium in many art forms, particularly in music and dance, transmitting information that cannot easily be expressed using words or language. Another field that is closely associated with dance and music is sports routine, which equally requires choreography and music. However, from the perspective of music, it is common to observe many incongruencies appearing between the music used and the choreography that impede an optimal perception of the performance. The concept of the notation proceeds with a discussion and review of existing dance notations that could contribute to sports routines, along with rules and a code of points in selected sports routines. The author's involvement as an insider of numerous musical theatre productions also contributed to this study. The notation constructed includes time (tempo), significances of musical accents, direction, and phrasing, along with significances of movements (jump, punch, shape). It is believed that the level of congruence between music and movement will provide optimal visualization, and in that, the notation serves to provide adequate information on both entities for the understanding of athletes and coaches. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=notation" title="notation">notation</a>, <a href="https://publications.waset.org/abstracts/search?q=choreography" title=" choreography"> choreography</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20learning" title=" music learning"> music learning</a>, <a href="https://publications.waset.org/abstracts/search?q=sports%20routines" title=" sports routines"> sports routines</a>, <a href="https://publications.waset.org/abstracts/search?q=congruence" title=" congruence"> congruence</a> </p> <a href="https://publications.waset.org/abstracts/160824/constructing-notation-for-music-learning-in-athletes-identifying-key-concepts-in-music-and-body-movements" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160824.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">83</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8</span> Service Interactions Coordination Using a Declarative Approach: Focuses on Deontic Rule from Semantics of Business Vocabulary and Rules Models</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nurulhuda%20A.%20Manaf">Nurulhuda A. Manaf</a>, <a href="https://publications.waset.org/abstracts/search?q=Nor%20Najihah%20Zainal%20Abidin"> Nor Najihah Zainal Abidin</a>, <a href="https://publications.waset.org/abstracts/search?q=Nur%20Amalina%20Jamaludin"> Nur Amalina Jamaludin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Coordinating service interactions are a vital part of developing distributed applications that are built up as networks of autonomous participants, e.g., software components, web services, online resources, involve a collaboration between a diverse number of participant services on different providers. The complexity in coordinating service interactions reflects how important the techniques and approaches require for designing and coordinating the interaction between participant services to ensure the overall goal of a collaboration between participant services is achieved. The objective of this research is to develop capability of steering a complex service interaction towards a desired outcome. Therefore, an efficient technique for modelling, generating, and verifying the coordination of service interactions is developed. The developed model describes service interactions using service choreographies approach and focusing on a declarative approach, advocating an Object Management Group (OMG) standard, Semantics of Business Vocabulary and Rules (SBVR). This model, namely, SBVR model for service choreographies focuses on a declarative deontic rule expressing both obligation and prohibition, which can be more useful in working with coordinating service interactions. The generated SBVR model is then be formulated and be transformed into Alloy model using Alloy Analyzer for verifying the generated SBVR model. The transformation of SBVR into Alloy allows to automatically generate the corresponding coordination of service interactions (service choreography), hence producing an immediate instance of execution that satisfies the constraints of the specification and verifies whether a specific request can be realised in the given choreography in the generated choreography. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=service%20choreography" title="service choreography">service choreography</a>, <a href="https://publications.waset.org/abstracts/search?q=service%20coordination" title=" service coordination"> service coordination</a>, <a href="https://publications.waset.org/abstracts/search?q=behavioural%20modelling" title=" behavioural modelling"> behavioural modelling</a>, <a href="https://publications.waset.org/abstracts/search?q=complex%20interactions" title=" complex interactions"> complex interactions</a>, <a href="https://publications.waset.org/abstracts/search?q=declarative%20specification" title=" declarative specification"> declarative specification</a>, <a href="https://publications.waset.org/abstracts/search?q=verification" title=" verification"> verification</a>, <a href="https://publications.waset.org/abstracts/search?q=model%20transformation" title=" model transformation"> model transformation</a>, <a href="https://publications.waset.org/abstracts/search?q=semantics%20of%20business%20vocabulary%20and%20rules" title=" semantics of business vocabulary and rules"> semantics of business vocabulary and rules</a>, <a href="https://publications.waset.org/abstracts/search?q=SBVR" title=" SBVR"> SBVR</a> </p> <a href="https://publications.waset.org/abstracts/122564/service-interactions-coordination-using-a-declarative-approach-focuses-on-deontic-rule-from-semantics-of-business-vocabulary-and-rules-models" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/122564.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">155</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Dancing Calligraphy: An Aesthetic Study of Dancing Ink (2017)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chingwen%20Yeh">Chingwen Yeh</a>, <a href="https://publications.waset.org/abstracts/search?q=Chang%20Ning%20Hung"> Chang Ning Hung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to analysis the aesthetic qualities of Dancing Ink (2017) performed by Miao-Hsuan Dance Group in Taiwan. The premiere was performed at Taichung Seaport Art Center Exhibition Hall Room A, in Taichung Taiwan on March 11th, 2017. What calligraphic elements were applied into the contemporary dance choreography was examed by these authors. Although calligraphy and dance are two different art forms, one can see in Dancing Ink that the beauty of Yin Yang force circling; the flow of Chi from inner meditation to the outer physical action are resonated in both art forms. The aesthetic experience was documented through qualitative research methods. In-depth interviews were conducted within a focus group including the calligrapher, the choreographer, the participated professional dancers and the appreciators. Subject matter, movement qualities, characteristic and meaning are the four main areas of interpretation originated from Janet Adshead’s dance analytical theory. Based on all the research data collection and analysis, this research found: 1) Making invisible spirituality visible in relations to creative process, 2) An artistic symbol that transforms from two-dimensional into three-dimensional generates a new aesthetic value, 3) Choreography and calligraphy require different artistic skills and disciplines but expressed the similar dynamic and rhythm in their movement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chi" title="Chi">Chi</a>, <a href="https://publications.waset.org/abstracts/search?q=Dancing%20Ink" title=" Dancing Ink"> Dancing Ink</a>, <a href="https://publications.waset.org/abstracts/search?q=Miao%20Hsuan%20Dance%20Group" title=" Miao Hsuan Dance Group"> Miao Hsuan Dance Group</a>, <a href="https://publications.waset.org/abstracts/search?q=Yin%20Yang%20force" title=" Yin Yang force"> Yin Yang force</a> </p> <a href="https://publications.waset.org/abstracts/71356/dancing-calligraphy-an-aesthetic-study-of-dancing-ink-2017" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71356.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">405</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> Overlaps and Intersections: An Alternative Look at Choreography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ashlie%20Latiolais">Ashlie Latiolais</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Architecture, as a discipline, is on a trajectory of extension beyond the boundaries of buildings and, more increasingly, is coupled with research that connects to alternative and typically disjointed disciplines. A “both/and” approach and (expanded) definition of architecture, as depicted here, expands the margins that contain the profession. Figuratively, architecture is a series of edges, events, and occurrences that establishes a choreography or stage by which humanity exists. The way in which architecture controls and suggests the movement through these spaces, being within a landscape, city, or building, can be viewed as a datum by which the “dance” of everyday life occurs. This submission views the realm of architecture through the lens of movement and dance as a cross-fertilizer of collaboration, tectonic, and spatial geometry investigations. “Designing on digital programs puts architects at a distance from the spaces they imagine. While this has obvious advantages, it also means that they lose the lived, embodied experience of feeling what is needed in space—meaning that some design ideas that work in theory ultimately fail in practice.” By studying the body in motion through real-time performance, a more holistic understanding of architectural space surfaces and new prospects for theoretical teaching pedagogies emerge. The atypical intersection rethinks how architecture is considered, created, and tested, similar to how “dance artists often do this by thinking through the body, opening pathways and possibilities that might not otherwise be accessible” –this is the essence of this poster submission as explained through unFOLDED, a creative performance work. A new languageismaterialized through unFOLDED, a dynamic occupiable installation by which architecture is investigated through dance, movement, and body analysis. The entry unfolds a collaboration of an architect, dance choreographer, musicians, video artist, and lighting designers to re-create one of the first documented avant-garde performing arts collaborations (Matisse, Satie, Massine, Picasso) from the Ballet Russes in 1917, entitled Parade. Architecturally, this interdisciplinary project orients and suggests motion through structure, tectonic, lightness, darkness, and shadow as it questions the navigation of the dark space (stage) surrounding the installation. Artificial light via theatrical lighting and video graphics brought the blank canvas to life – where the sensitive mix of musicality coordinated with the structure’s movement sequencing was certainly a challenge. The upstage light from the video projections created both flickered contextual imagery and shadowed figures. When the dancers were either upstage or downstage of the structure, both silhouetted figures and revealed bodies are experienced as dancer-controlled installation manipulations occurred throughout the performance. The experimental performance, through structure, prompted moving (dancing) bodies in space, where the architecture served as a key component to the choreography itself. The tectonic of the delicate steel structure allowed for the dancers to interact with the installation, which created a variety of spatial conditions – the contained box of three-dimensional space, to a wall, and various abstracted geometries in between. The development of this research unveils the new role of an Architect as a Choreographer of the built environment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dance" title="dance">dance</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture" title=" architecture"> architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=choreography" title=" choreography"> choreography</a>, <a href="https://publications.waset.org/abstracts/search?q=installation" title=" installation"> installation</a>, <a href="https://publications.waset.org/abstracts/search?q=architect" title=" architect"> architect</a>, <a href="https://publications.waset.org/abstracts/search?q=choreographer" title=" choreographer"> choreographer</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space"> space</a> </p> <a href="https://publications.waset.org/abstracts/150895/overlaps-and-intersections-an-alternative-look-at-choreography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/150895.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">91</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> Principles of Editing and Storytelling in Relation to Editorial Graphic Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melike%20Tascioglu">Melike Tascioglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to combine film editing principles to basic design principles to explore what graphic designers do in terms of storytelling. The sequential aspect of film is designed and examined through the art of editing. Examining the rules, principles and formulas of film editing can be a method for graphic designers to further practice the art of storytelling. Although there are many research and publications on design basics, time, pace, dramatic structure and choreography are not very well defined in the area of graphic design. In this era of creative storytelling and interdisciplinary collaboration, not only film editors but also graphic designers and students in the arts and design should understand the theory and practice of editing to be able to create a strong mise-en-scène and not only a mise-en-page. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20principles" title="design principles">design principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editing%20principles" title=" editing principles"> editing principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editorial%20design" title=" editorial design"> editorial design</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20editing" title=" film editing"> film editing</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title=" graphic design"> graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=storytelling" title=" storytelling"> storytelling</a> </p> <a href="https://publications.waset.org/abstracts/3528/principles-of-editing-and-storytelling-in-relation-to-editorial-graphic-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3528.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">331</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> Case Study of Human Factors and Ergonomics in the Design and Use of Harness-Embedded Costumes in the Entertainment Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marielle%20Hanley">Marielle Hanley</a>, <a href="https://publications.waset.org/abstracts/search?q=Brandon%20Takahashi"> Brandon Takahashi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gerry%20Hanley"> Gerry Hanley</a>, <a href="https://publications.waset.org/abstracts/search?q=Gabriella%20Hancock"> Gabriella Hancock</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Safety harnesses and their protocols are very common within the construction industry, and the Occupational Safety and Health Administration has provided extensive guidelines with protocols being constantly updated to ensure the highest level of safety within construction sites. There is also extensive research on harnesses that are meant to keep people in place in moving vehicles, such as seatbelts. Though this research is comprehensive in these areas, the findings and recommendations are not generally applicable to other industry sectors where harnesses are used, such as the entertainment industry. The focus of this case study is on the design and use of harnesses used by theme park employees wearing elaborate costumes in parades and performances. The key factors of posture, kinesthetic factors, and harness engineering interact in significantly different ways when the user is performing repetitive choreography with 20 to 40 lbs. of apparatus connected to harnesses that need to be hidden from the audience’s view. Human factors and ergonomic analysis take into account the required performers’ behaviors, the physical and mental preparation and posture of the performer, the design of the harness-embedded costume, and the environmental conditions during the performance (e.g., wind) that can determine the physical stresses placed on the harness and performer. The uniqueness and expense of elaborate costumes frequently result in one or two costumes created for production, and a variety of different performers need to fit into the same costume. Consequently, the harnesses should be adjustable if they are to minimize the physical and cognitive loads on the performer, but they are frequently more a “one-size fits all”. The complexity of human and technology interactions produces a range of detrimental outcomes, from muscle strains to nerve damage, mental and physical fatigue, and reduced motivation to perform at peak levels. Based on observations conducted over four years for this case study, a number of recommendations to institutionalize the human factors and ergonomic analyses can significantly improve the safety, reliability, and quality of performances with harness-embedded costumes in the entertainment industry. Human factors and ergonomic analyses can be integrated into the engineering design of the performance costumes with embedded harnesses, the conditioning and training of the performers using the costumes, the choreography of the performances within the staged setting and the maintenance of the harness-embedded costumes. By applying human factors and ergonomic methodologies in the entertainment industry, the industry management and support staff can significantly reduce the risks of injury, improve the longevity of unique performers, increase the longevity of the harness-embedded costumes, and produce the desired entertainment value for audiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ergonomics%20in%20entertainment%20industry" title="ergonomics in entertainment industry">ergonomics in entertainment industry</a>, <a href="https://publications.waset.org/abstracts/search?q=harness-embedded%20costumes" title=" harness-embedded costumes"> harness-embedded costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=performer%20safety" title=" performer safety"> performer safety</a>, <a href="https://publications.waset.org/abstracts/search?q=injury%20prevention" title=" injury prevention"> injury prevention</a> </p> <a href="https://publications.waset.org/abstracts/138010/case-study-of-human-factors-and-ergonomics-in-the-design-and-use-of-harness-embedded-costumes-in-the-entertainment-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138010.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">91</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Origins: An Interpretive History of MMA Design Studio’s Exhibition for the 2023 Venice Biennale</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jonathan%20A.%20Noble">Jonathan A. Noble</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ‘Origins’ is an exhibition designed and installed by MMA Design Studio, at the 2023 Venice Biennale. The instillation formed part of the ‘Dangerous Liaisons’ group exhibition at the Arsenale building. An immersive experience was created for those who visited, where video projection and the bodies of visitors interacted with the scene. Designed by South African architect, Mphethi Morojele – founder and owner of MMA – the primary inspiration for ‘Origins’ was the recent discovery by Professor Karim Sadr in 2019, of a substantial Tswana settlement. Situated in present day Suikerbosrand Nature Reserve, some 45km south of Johannesburg, this precolonial city named Kweneng, has been dated back to the fifteenth century. This remarkable discovery was achieved thanks to advanced aerial, LiDAR scanning technology, which was used to capture the traces of Kweneng, spanning a terrain of some 10km long and 2km wide. Discovered by light (LiDAR) and exhibited through light, Origins presents a simulated experience of Kweneng. The presentation of Kweneng was achieved primarily though video, with a circular projection onto the floor of an animated LiDAR data sequence, and onto the walls a filmed dance sequence choreographed to embody the architectural, spatial and symbolic significance of Kweneng. This paper documents the design process that was involved in the conceptualization, development and final realization of this noteworthy exhibition, with an elucidation upon key social and cultural questions pertaining to precolonial heritage, reimagined histories and postcolonial identity. Periods of change and of social awakening sometimes spark an interest in questions of origin, of cultural lineage and belonging – and which certainly is the case for contemporary, post-Apartheid South Africa. Researching this paper has required primary study of MMA Design Studio’s project archive, including various proposals and other design related documents, conceptual design sketches, architectural drawings and photographs. This material is supported by the authors first-hand interviews with Morejele and others who were involved, especially with respect to the choreography of the interpretive dance, LiDAR visualization techniques and video production that informed the simulated, immersive experience at the exhibition. Presenting a ‘dangerous liaison’ between architecture and dance, Origins looks into the distant past to frame contemporary questions pertaining to intangible heritage, animism and embodiment through architecture and dance – considerations which are required “to survive the future”, says Morojele. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architecture%20and%20dance" title="architecture and dance">architecture and dance</a>, <a href="https://publications.waset.org/abstracts/search?q=Kweneng" title=" Kweneng"> Kweneng</a>, <a href="https://publications.waset.org/abstracts/search?q=MMA%20design%20studio" title=" MMA design studio"> MMA design studio</a>, <a href="https://publications.waset.org/abstracts/search?q=origins" title=" origins"> origins</a>, <a href="https://publications.waset.org/abstracts/search?q=Venice%20Biennale" title=" Venice Biennale"> Venice Biennale</a> </p> <a href="https://publications.waset.org/abstracts/174636/origins-an-interpretive-history-of-mma-design-studios-exhibition-for-the-2023-venice-biennale" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174636.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">88</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> A Formal Microlectic Framework for Biological Circularchy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ellis%20D.%20Cooper">Ellis D. Cooper</a> </p> <p class="card-text"><strong>Abstract:</strong></p> “Circularchy” is supposed to be an adjustable formal framework with enough expressive power to articulate biological theory about Earthly Life in the sense of multi-scale biological autonomy constrained by non-equilibrium thermodynamics. “Formal framework” means specifically a multi-sorted first-order-theorywithequality (for each sort). Philosophically, such a theory is one kind of “microlect,” which means a “way of speaking” (or, more generally, a “way of behaving”) for overtly expressing a “mental model” of some “referent.” Other kinds of microlect include “natural microlect,” “diagrammatic microlect,” and “behavioral microlect,” with examples such as “political theory,” “Euclidean geometry,” and “dance choreography,” respectively. These are all describable in terms of a vocabulary conforming to grammar. As aspects of human culture, they are possibly reminiscent of Ernst Cassirer’s idea of “symbolic form;” as vocabularies, they are akin to Richard Rorty’s idea of “final vocabulary” for expressing a mental model of one’s life. A formal microlect is presented by stipulating sorts, variables, calculations, predicates, and postulates. Calculations (a.k.a., “terms”) may be composed to form more complicated calculations; predicates (a.k.a., “relations”) may be logically combined to form more complicated predicates; and statements (a.k.a., “sentences”) are grammatically correct expressions which are true or false. Conclusions are statements derived using logical rules of deduction from postulates, other assumed statements, or previously derived conclusions. A circularchy is a formal microlect constituted by two or more sub-microlects, each with its distinct stipulations of sorts, variables, calculations, predicates, and postulates. Within a sub-microlect some postulates or conclusions are equations which are statements that declare equality of specified calculations. An equational bond between an equation in one sub-microlect and an equation in either the same sub-microlect or in another sub-microlect is a predicate that declares equality of symbols occurring in a side of one equation with symbols occurring in a side of the other equation. Briefly, a circularchy is a network of equational bonds between sub-microlects. A circularchy is solvable if there exist solutions for all equations that satisfy all equational bonds. If a circularchy is not solvable, then a challenge would be to discover the obstruction to solvability and then conjecture what adjustments might remove the obstruction. Adjustment means changes in stipulated ingredients (sorts, etc.) of sub-microlects, or changes in equational bonds between sub-microlects, or introduction of new sub-microlects and new equational bonds. A circularchy is modular insofar as each sub-microlect is a node in a network of equation bonds. Solvability of a circularchy may be conjectured. Efforts to prove solvability may be thwarted by a counter-example or may lead to the construction of a solution. An automated theorem-proof assistant would likely be necessary for investigating a substantial circularchy, such as one purported to represent Earthly Life. Such investigations (chains of statements) would be concurrent with and no substitute for simulations (chains of numbers). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=autonomy" title="autonomy">autonomy</a>, <a href="https://publications.waset.org/abstracts/search?q=first-order%20theory" title=" first-order theory"> first-order theory</a>, <a href="https://publications.waset.org/abstracts/search?q=mathematics" title=" mathematics"> mathematics</a>, <a href="https://publications.waset.org/abstracts/search?q=thermodynamics" title=" thermodynamics"> thermodynamics</a> </p> <a href="https://publications.waset.org/abstracts/139961/a-formal-microlectic-framework-for-biological-circularchy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/139961.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">220</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Bioinformatic Prediction of Hub Genes by Analysis of Signaling Pathways, Transcriptional Regulatory Networks and DNA Methylation Pattern in Colon Cancer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ankan%20Roy">Ankan Roy</a>, <a href="https://publications.waset.org/abstracts/search?q=Niharika"> Niharika</a>, <a href="https://publications.waset.org/abstracts/search?q=Samir%20Kumar%20Patra"> Samir Kumar Patra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Anomalous nexus of complex topological assemblies and spatiotemporal epigenetic choreography at chromosomal territory may forms the most sophisticated regulatory layer of gene expression in cancer. Colon cancer is one of the leading malignant neoplasms of the lower gastrointestinal tract worldwide. There is still a paucity of information about the complex molecular mechanisms of colonic cancerogenesis. Bioinformatics prediction and analysis helps to identify essential genes and significant pathways for monitoring and conquering this deadly disease. The present study investigates and explores potential hub genes as biomarkers and effective therapeutic targets for colon cancer treatment. Colon cancer patient sample containing gene expression profile datasets, such as GSE44076, GSE20916, and GSE37364 were downloaded from Gene Expression Omnibus (GEO) database and thoroughly screened using the GEO2R tool and Funrich software to find out common 2 differentially expressed genes (DEGs). Other approaches, including Gene Ontology (GO) and KEGG pathway analysis, Protein-Protein Interaction (PPI) network construction and hub gene investigation, Overall Survival (OS) analysis, gene correlation analysis, methylation pattern analysis, and hub gene-Transcription factors regulatory network construction, were performed and validated using various bioinformatics tool. Initially, we identified 166 DEGs, including 68 up-regulated and 98 down-regulated genes. Up-regulated genes are mainly associated with the Cytokine-cytokine receptor interaction, IL17 signaling pathway, ECM-receptor interaction, Focal adhesion and PI3K-Akt pathway. Downregulated genes are enriched in metabolic pathways, retinol metabolism, Steroid hormone biosynthesis, and bile secretion. From the protein-protein interaction network, thirty hub genes with high connectivity are selected using the MCODE and cytoHubba plugin. Survival analysis, expression validation, correlation analysis, and methylation pattern analysis were further verified using TCGA data. Finally, we predicted COL1A1, COL1A2, COL4A1, SPP1, SPARC, and THBS2 as potential master regulators in colonic cancerogenesis. Moreover, our experimental data highlights that disruption of lipid raft and RAS/MAPK signaling cascade affects this gene hub at mRNA level. We identified COL1A1, COL1A2, COL4A1, SPP1, SPARC, and THBS2 as determinant hub genes in colon cancer progression. They can be considered as biomarkers for diagnosis and promising therapeutic targets in colon cancer treatment. Additionally, our experimental data advertise that signaling pathway act as connecting link between membrane hub and gene hub. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hub%20genes" title="hub genes">hub genes</a>, <a href="https://publications.waset.org/abstracts/search?q=colon%20cancer" title=" colon cancer"> colon cancer</a>, <a href="https://publications.waset.org/abstracts/search?q=DNA%20methylation" title=" DNA methylation"> DNA methylation</a>, <a href="https://publications.waset.org/abstracts/search?q=epigenetic%20engineering" title=" epigenetic engineering"> epigenetic engineering</a>, <a href="https://publications.waset.org/abstracts/search?q=bioinformatic%20predictions" title=" bioinformatic predictions"> bioinformatic predictions</a> </p> <a href="https://publications.waset.org/abstracts/152788/bioinformatic-prediction-of-hub-genes-by-analysis-of-signaling-pathways-transcriptional-regulatory-networks-and-dna-methylation-pattern-in-colon-cancer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152788.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET 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