The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body. In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does. / <p>QC 20140519</p>

Thesis (Ph.D.)--Ohio University, November, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ph.D.)--University of Melbourne, The School of Dance, Faculty of the Victorian College of the Arts, 2009. / Typescript. Includes bibliographical references (leaves 217-221)

Thesis (M.S.)--California State University, Northridge, 2005. / Includes bibliographical references (leaves 34-35). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (M.S.)--California State University, Northridge, 2005. / Includes bibliographical references (leaves 34-35).

No description available.

abstract: The Mormon Plan of Salvation explains that people originate in a heavenly state and are sent to Earth in a physical form, where they aspire to lead good lives and gain wisdom in order to reach glory in the afterlife. The dance piece "From There to Here to There: Whose Journey is it Anyway?" explores each stage in the Plan of Salvation at a different location, requiring dancers and audience to travel both metaphorically and physically. The piece incorporates several kinds of journeys: the collective journey of humankind based on the Plan of Salvation, the dancers' own journeys, and audience's journey as they watch the piece, and my journey as an artist. In the process of making this piece, I refined my identity as a 21st century Mormon artist interested in conveying religious messages through the traditionally secular art form of postmodern dance. / Dissertation/Thesis / M.F.A. Dance 2011

This document will account the process, from research and analysis through post-production reflection, of directing and choreographing Crazy For You in the mainstage academic season of Southern Illinois University Carbondale's Theater Department in the Fall of 2010. Further, this paper highlights the more prominent aspects in order to continue the author's work to deconstruct and define the musical theatre genre. Chapter One focuses on two major aspects of current perceptions of musical theatre in an effort to address the genre's efficacy. The chapter first examines how musical theatre is defined and critiqued by the outsider and sometimes inadequately handled by the practitioner. Next, the development of the genre is examined as it pertains to the genesis of Crazy For You, both book and music, as well as contemporary relevance. The second chapter opens with a statement of specific objectives for this production process along with a discussion of vision and concept. The latter half examines the most relevant research employed early in the process. Chapter Three details issues from design and production meetings through rehearsals and performances while the final chapter reflects upon the effectiveness of the aforementioned tactics and objectives. The Appendices include additional documents pertinent to the overall discussion.

This thesis examines how art can support and stimulate personal and social change. It addresses the natural and ever-present existence of conflict and analyzes how using the body as a tool for communication can viscerally represent themes of disagreement and resolution. The work of Israeli choreographers Yasmeen Godder and Hillel Kogan are analyzed in a case study to explore different methods of choreographing conflict. Both works successfully, yet contrastingly, demonstrate how the body adds power and emotion to an idea. Parallel to the research component of this thesis is the original choreographed work, Ecotones. The creative method behind Ecotones drew from the research and led to a unique compilation of approaches to choreographing conflict. This process and the resulting choreography highlight the potential impact of creating, dancing, and watching art about resistance, struggle, and connection.

With the increasing popularity of microservices for software application development, businesses are migrating from monolithic approaches towards more scalable and independently deployable applications using microservice architectures. Each microservice is designed to perform one single task. However, these microservices need to be composed together to communicate and deliver complex system functionalities. There are two major approaches to compose microservices, namely choreography and orchestration. Microservice compositions are mainly built around business functionalities, therefore businesses need to choose the right composition style that best serves their business needs. In this research, we follow a five-step process for conducting a Design Science Research (DSR) methodology to define, develop and evaluate BPMN-based models for microservice compositions. We design a series of BPMN workflows as the artifacts to investigate choreography and orchestration of microservices. The objective of this research is to compare the complexity of the two leading composition techniques on small, mid-sized, and end-to-end e-commerce scenarios, using complexity metrics from the software engineering and business process literature. More specifically, we use the metrics to assess the complexity of BPMN-based models representing the abovementioned e-commerce scenarios. An important aspect of our research is the fact that we model, deploy, and run our scenarios to make sure we are assessing the modeling complexity of realistic applications. For that, we rely on Zeebe Modeler and CAMUNDA workflow engine. Finally, we use the results of our complexity assessment to uncover insights on modeling microservice choreography and orchestration and discuss the impacts of complexity on the modifiability and understandability of the proposed models.