Thesis--Wisconsin. / Includes bibliographical references (leaves 83-84).

This thesis studies materiality in the context of contemporary outdoor dance practices in the natural environment. The more particular territory of this research is comprised of receptivity-, materiality- and/or exposure-based practices, influenced predominantly by the international lineages of Amerta Movement and postmodern dance. This territory is understood to be a relevant niche domain that is relatively uncharted and particularly informative regarding questions of materiality. The practitioners that this study turns to are mostly located in the UK, but also in Germany. The key influence of Amerta is rooted in Central Java, Indonesia. The main empirical data was collected between 2010-2012 in the UK. This work is a practice-as-research project and consists of a written thesis and a performative afternoon. All questions and arguments have been generated and developed through movement – as well as text-based research practices. The methodology draws on qualitative, ethnographic research methods such as participant observation, fieldnote writing and interviews. It further employs creative research methods such as movement-based writing, research installations and the documented immersion into dance practice and performance making. The main theoretical resonances were found in the field of new materialism and speculative realism. The key arguments of the research were thus developed through creative practice and diffractive reading (Barad), particularly of the work of Jane Bennett, Karen Barad and Graham Harman. The findings of this research suggest that attending to materiality supports dancers in refining a sense of embodied emplacement that furthers movement practice, especially in outdoor contexts. Sensing ones own material body is paramount here. In resonance with new materialist and speculative realist scholarship this research argues that dance making takes place in intermaterial confederations that cross the familiar human- non-human divide. Such confederations allow for a decentralisation of the human positionality that is relevant beyond dance and affects ontological conceptualisations and practices of life at large. The findings of this thesis further suggest a partial integration of concepts that on philosophical grounds preclude each other. For the context of dance practice this research puts forward that Barad’s proposal of entanglement can co-function with and is co-relevant to the autonomy of objects and materials proposed by Harman. The thesis thus argues that materials of all different orders occur in inter-independence (Suryodarmo) rather than only entangled with or withdrawn from each other. Both discrete and independent entities and mutual affordances impact the practice of outdoor dance; reality both exceeds the dance and resonates materially within the human body.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. Includes bibliographical references.

Thesis (Ed. D.)--West Virginia University, 2010. / Title from document title page. Document formatted into pages; contains vi, 157 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 151-153).

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 225-236).

The aim of this creative project is the search for an alternative path of spatial understanding and the implementation of an complementary way that seeks to communicate new spatial ideas in the real of architecture.By introducing the hypothesis of a consolidated unit that consists of the triptych space, movement and the perceiving human being, one is necessary to create a media that can potentially help the expression of multidimensional structures.For this purpose dance is introduced in the field of architecture. Choreography and movement notation are structured and interpreted in order to inform the field of architecture on a theoretical as well as on a practical level.By analyzing components of dance, useful elements that can help to "render" architectural ideas can be identified.The second part of this thesis project, provides a way of how to implement the unit space, movement and the perceiving human being, into the field of architecture. A synthesis of elements existing both in the field of architecture and dance, constitute the base for an architectonic artefact. The introduction of an artefact as such, "moves" beyond the expected understanding of architectural space, commonly portrayed as something static and absolute, while it offers new possibilities to spatial perception. / Department of Architecture

Thesis (MVisualArts)--University of South Australia, 2001.

Thesis (doctoral)--University of Stockholm, 2005, in "co-tutelle" with l'Université Paris VIII. / Cover title. Includes bibliographical references (p. 256-264).

Thesis (doctoral)--University of Stockholm, 2005, in "co-tutelle" with l'Université Paris VIII. / Cover title. Includes bibliographical references (p. 256-264).

Thesis (Ph. D.)--University of California, Riverside, 2009. / Includes abstract. Includes bibliographical references (leaves 231-237). Issued in print and online. Available via ProQuest Digital Dissertations.