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The purpose of this study is to show the feasibility of controlling state transitions between attractors in a time-delayed dynamical system. Current control methods for multistable systems do not account for the time-delay for signal transmission. Our method involves momentarily turning feedback off and introducing a new initial condition before turning feedback on again. We have shown that this method is feasible by applying it to a model with known solutions. This control method can be used in many ways, but its most promising application is in the form of electroceuticals that can be used to treat and control dynamic diseases, such as epilepsy.

This Masters in American Dance Studies thesis addresses the performance of asexual identity in the neo-burlesque performance art. With a heavy emphasis on autoethnography, I present neo-burlesque as a genre that creates space for queer identity performance. I focus on three case studies: First, as a live audience member, I examine Hattiesburlesque as an example of neo-burlesque’s celebratory and self-loving spirit. Then, through online engagement, I analyze the work of genderqueer, asexual neo-burlesque performer Hana Li and her involvement in the queerlesque community of Dallas, Texas. Finally, as a performing member of Shaken Not Stirred Burlesque, I explore a self-choreographed solo routine celebrating asexual pride in order to gain embodied experience of performing identity in neo-burlesque. In doing so, I add to the sparse but growing field of asexual research and depart on a personal journey of self-discovery and self-expression. / A Thesis submitted to the School of Dance in partial fulfillment of the requirements for the degree of Master of Arts. / Spring Semester 2019. / April 10, 2019. / asexuality, autoethnography, burlesque, identity, neo-burlesque, performance / Includes bibliographical references. / Hannah Schwadron, Professor Directing Thesis; Jen Atkins, Committee Member; Ilana Goldman, Committee Member.

No description available.

No description available.

This thesis will describe, analyze and compare the functions of social dance and military drill among American soldiers during the Revolutionary War. These movement forms, though performed in different contexts, both contributed to the creation of communitas in the army, which was vital to its success. Specifically, collective movement, whether on the training field or ballroom floor, served as a vehicle by which Americans negotiated the transitional phase into a new nation. The Revolutionary War can be read as a rite of passage; social dance and military drill were literally embodied ritual enactments of solidarity and community. Social dance and military drill will be compared in relationship to their European roots, with particular emphasis on their role in social class structure, movement style and vocabulary. / A Thesis submitted to the Department of Dance in partial fulfillment of the requirements for the degree of Master of Arts. / Degree Awarded: Spring Semester, 2006. / Date of Defense: October 27, 2005. / Social dance, George Washington, Ritual, American Revolution, Revolutionary War, Drill, Dance / Includes bibliographical references. / Tricia Young, Professor Directing Thesis; Sally Sommer, Committee Member; John O. Perpener, III., Committee Member.

Thesis (M.A.)--University of Wisconsin--Madison, 1984. / Typescript. Title from title screen (viewed Mar. 15, 2007). Includes bibliographical references (leaves 246-250). Online version of the print original.

Development of sadir in the court

Tradition of Andhra's

<p>Theoretically and practically, dance confronts the problem of economic scarcity. However the problem is not merely monetary. Scarcity is paradigm that structures reality and leads to a far less acknowledged byproduct, that of a belief in creative scarcity in dance itself. By looking at assumptions about scarcity in dance, this paper examines the belief that creative scarcity is an inevitable byproduct of scanty economic resources. By uncovering unacknowledged hidden reservoirs of abundance, and applying existing and effective theories and examples of abundance, it deals with establishing an intellectual foundation from which to build a model for a dance space that would re-define dance resources and provide the dance artists a more supportive and liberating mental, physical, and emotional basis from which to make art. Dance-making is shown to have the potential to be shifted from a model of scarcity towards one of abundance by demoting financial resources from their position of priority, rethinking dogmatic hierarchies, and bringing social, cultural, theoretical, and emotional resources into play. Such a movement towards a model of abundance calls for a shift in how a dance space is conceived and operated and how the art itself is understood, leading to a discussion and examination of a proposed dance cooperative model. </p>