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This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

Embodied Conversational Agents (ECA) seek to provide a more natural means of interaction for a user through conversation. ECA build on the dialogue abilities of spoken dialogue systems with the provision of a physical or virtual avatar. The rationale for this Thesis is that an ECA should be able to support a form of conversation capable of understanding both the content and affect of the dialogue and providing a meaningful response. The aim is to examine the cognitive aspects of ECA attempting such conversational dialogue in order to augment the abilities of dialogue management. The focus is on the provision of cognitive functions, outside of dialogue control, for managing the relationship with the user including the user’s emotional state. This will include a definition of conversation and an examination of the cognitive mechanisms that underpin meaningful conversation. The scope of this Thesis considers the development of a Companion ECA, the ‘How Was Your Day’ (HWYD) Companion, which enters into an open conversation with the user about the events of their day at work. The HWYD Companion attempts to positively influence the user’s attitude to these events. The main focus of this Thesis is on the Affective Strategy Module (ASM) which will attend to the information covering these events and the user’s emotional state in order to generate a plan for a narrative response. Within this narrative response the ASM will embed a means of influence acting upon the user’s attitude to the events. The HYWD Companion has contributed to the work on ECA through the provision of a system engaging in conversational dialogue including the affective aspects of such dialogue. This supports open conversation with longer utterances than typical task-oriented dialogue systems and can handle user interruptions. The main work of this Thesis provides a major component of this overall contribution and, in addition, provides a specific contribution of its own with the provision of narrative persuasion.

The sensorimotor theory is an influential, non-mainstream account of perception and perceptual consciousness intended to improve in various ways on orthodox theories. It is often taken to be a variety of enactivism, and in common with enactivist cognitive science more generally, it de-emphasises the theoretical role played by internal representation and other purely neural processes, giving theoretical pride of place instead to interactive engagements between the brain, non-neural body and outside environment. In addition to offering a distinctive account of the processing that underlies perceptual consciousness, the sensorimotor theory aims to offer a new and improved account the logical and phenomenological character of perceptual experience, and the relation between physical and phenomenal states. Since its inception in a 2001 paper by O'Regan and Noë, the theory has prompted a good deal of increasingly prominent theoretical and practical work in cognitive science, as well as a large body of secondary literature in philosophy of cognitive science and philosophy of perception. In spite of its influential character, many of the theory's most basic tenets are incompletely or ambiguously defined, and it has attracted a number of prominent objections. This thesis aims to clarify the conceptual foundations of the sensorimotor theory, including the key theoretical concepts of sensorimotor contingency, sensorimotor mastery, and presence-as-access, and defends a particular understanding of the respective theoretical roles of internal representation and behavioural capacities. In so doing, the thesis aims to highlight the sensorimotor theory's virtues and defend it from some leading criticisms, with particular attention to a response by Clark which claims that perception and perceptual experience plausibly depend on the activation of representations which are not intimately involved in bodily engagements between the agent and environment. A final part of the thesis offers a sensorimotor account of the experience of temporally extended events, and shows how with reference to this we can better understand object experience.

Bodily Force and Rhetorical Function in the Afro-Brazilian Art Form of Capoeira examines how practitioners of capoeira, a dance-like martial art developed by African slaves in Brazil during the slave trade, enact forms of contestation, resistance, and accommodation through their performances, as well as how the practice of capoeira results in productions and interruptions of social and cultural hierarchies. Building upon historical research, interviews, and participant observations at a local capoeira site, I argue that the movements, gestures, and facial expressions that drive communicative performances between two or more practitioners elucidate intersections between rhetoric, performance, and the body. More specifically, I demonstrate that the capoeira body operates as a physical force that serves a variety of rhetorical functions, including intervening in social structures of dominance, performing identities, recording histories, establishing relational politics, and inviting self and communal transformation. Interrogating the art form's colonial past, I suggest that capoeira has the potential to teach anti-oppression practices and to serve as a locus of coalition building across multiple lines of difference.

This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges notions of authenticity and singular 'ownership' of technique by considering the importance of collaborative cross-fertilisation with other practitioners. This research includes a broader exploration of the literature, histories and discourses about the variety of practices that are often problematically classified as Physical Theatre in relation to the identification of the key components of Bing and Chekhov's pedagogy. The first chapter presents this mapping in tandem with the argument that McDermott's term of Embodied Theatre is more appropriate for Bing and Chekhov's practice. The second chapter further refines the frame of analysis to Embodied Play. Chapters three and four consider how Chekhov and Bing respectively used forms of Embodied Play. Chapter five considers how Bing and Chekhov extended their methods of Embodied Play in training which led to radical approaches to working collaboratively with text and writers. It concludes that this movement from the use of play solely for the acquisition of discrete skill or character creation to extended forms of Embodied Play enabled them to train actors to work as empowered creators of small-scale performance in their Schools/Studios, and ultimately to engage in devising processes for professional productions. Consequently, this helps to fill the gap in scholarship on the early experiments in devised Embodied Theatre. In conclusion the focus on Bing addresses the either inadequate, or absent, analyses of her practice in many of the existing historical studies which are dominated by the patrilineal narratives of Jacques Copeau and Michel Saint-Denis. The consideration of Chekhov's practice also challenges the current discourse on play centring on Le Jeu and presents the argument for an expanded term able to consider different artists not just those from the French male lineage. Concurrently, this focus on Chekhov's use of Embodied Play has added to the scholarship on his pedagogic and theatre-making practices.

sociological literature suggests that adult sports participation is occurring in a 'culture of risk' which glorifies pain, rationalises risk and promotes the practice of playing hurt (Messner, 1990; Nixon, 1992; Curry 1993; Pike, 2000; Roderick et aI, 2000, Safai, 2003; Howe, 2004; Young, 2004a; Liston et aI. 2006). Using this corpus of knowledge as a point of departure, this study directs attention towards young people's sporting risk encounters within the specific context of school sport. Guided by a process-sociological framework (Elias, 1978, 1991,2000 [1939]), it offers an insight into the ways in which young people interpret, experience and manage sporting risk and episodes of sporting pain and injury whilst at school. The research draws on data generated by 1,651 young people aged between ten and sixteen years old using a three-phase data collection programme. The programme incorporated self-report questionnaires, semi-structured interviews and group-based creative tasks and was conducted in six secondary schools located in "Churchill", a major English conurbation. The findings suggest that school sport worlds (re )produce two entwined, yet competing sets of beliefs, attitudes and practices related to sporting pain and injury and are best described as webs of risks and precaution and protectionism. Rather than adopting a more cautious approach to pain and injury the data indicates that this cluster of young people frequently play hurt, normalise injury and engage in forms of 'injury talk' that discredit episodes of sporting pain. In so doing, they may be placing their short and long-term physical, psychological, social and moral health in jeopardy. However, it is argued that this collection of sporting practices are highly valued by young people and are integral to the ways in which they assign and perform a range of dissecting and fluid embodied identities. Notwithstanding the potential for sporting risk encounters to engender damaging, disrupting and debilitating outcomes, the data also emphasises the potential for these experiences to act as important spaces in which young people are able to probe their bodily limits, develop corporeal knowledge and experience pleasurable emotions (Maguire, 199Ia). This thesis draws attention to the duality of sport and calls for a more reality-congruent approach to the sport-health-risk-youth nexus in the development of future (school) sport worlds.

The listener’s experience as an embodied subject is at the centre of this work. Embodied experience forms the basis for analyses of three contemporary compositions that sample bodily sound, in order to question how such works represent and mediate the body. The possible applications of this embodied methodology are illustrated through three case studies: Crackers by Christof Migone (2001), A Chance to Cut is a Chance to Cure by Matmos (2001) and Ground Techniques (2009) by Neil Luck. The findings of each analysis are placed within discussion of critical and theoretical concerns related to the (re)presentation, mediation and manipulation of the body both as materiality and as social construct, using, in particular, work by Hansen (2004) and Wegenstein (2006). The sampling practices of these works lead to the fragmentation of the represented bodies, in which margins between bodily interiors and exteriors are frequently crossed, bringing about a reconfiguration of the musical subject. Furthermore, the celebration of the bodily origins of these works complicates notions of recorded sound as disembodied. The analytical methodology developed in this thesis derives from a consideration of approaches in a number of fields: feminist musicology, music psychology, embodied cognition, phenomenology, music and gesture and new media theory. The sensations and affective responses of the listening body are discussed alongside an examination of how listening is shaped by processes of technological mediation. This thesis attends to both the body that is listening and the body that is listened to. I argue that it is not adequate to understand the works studied as merely representing the body, but suggest it would be more appropriate to understand the relationship between work and body as multi-faceted, conceptualising the body and recorded sound as mutually framing. This uncovers not only technology as mediation, but also the body as mediation. Finally, the case studies are used to reflect upon the limits of the embodied analysis methodology and its potential for wider application.

Sensor array calibration is a major problem in engineering, to which a biological approach may provide alternative solutions. For animals, perception is relative. The aim of this thesis is to show that the relativity of perception in the animal kingdom could also be applied to robotics with promising results. This thesis explores through various behaviours and environments the properties of homeostatic mechanisms in sensory cells. It shows not only that the phenomenon can solve partial failure of sensors but also that it can be used by robots to adapt to their (changing) environment. Moreover the system shows emergent properties as well as adaptation to the robot body or its behaviour. The homeostatic mechanisms in biological neurons maintain fi ring activity between predefi ned ranges. Our model is designed to correct out of range neuron activity over a relatively long period of time (seconds or minutes). The system is implemented in a robot’s sensory neurons and is the only form of adaptability used in the central network. The robot was fi rst tested extensively with a mechanism implemented for obstacle avoidance and wall following behaviours. The robot was not only able to deal with sensor manufacture defects, but to adapt to changing environments (e.g. adapting to a narrow environment when it was originally in an open world). Emergence of non-implemented behaviours has also been observed. For example, during wall following behaviour, the robot seemed, at some point, bored. It changed the direction it was following the wall. Or we also noticed during obstacle avoidance an emerging exploratory behaviour. The model has also been tested on more complex behaviours such as skototaxis, an escape response, and phonotaxis. Again, especially with skototaxis, emergent behaviours appeared such as unpredictability on where and when the robot will be hiding. It appears that the adaptation is not only driven by the environment but by the behaviour of the robot too. It is by the complex feedback between these two things that non-implemented behaviours emerge. We showed that homeostasis can be used to improve sensory signal processing in robotics and we also found evidence that the phenomenon can be a necessary step towards better behavioural adaptation to the environment.