Para se compreender a organização do trabalho artístico há que se levar em conta seus aspectos institucionais. As formas que as organizações artísticas tomam estão diretamente relacionadas ao desenvolvimento desses campos de produção em artes. Nessa dissertação, tomo como objeto de interesse o campo da produção teatral paulistana conhecido como Teatro de Grupo. Argumento que a aprovação da Lei de Fomento ao Teatro para a cidade de São Paulo em 2002 foi um importante ponto de inflexão na construção desse campo. Para explorar de que modo a lei permanece como um dos mecanismos centrais da organização dessa parcela da produção artística, foram coletados, por meio de pesquisa de campo e análise documental, dados e informações sobre os grupos que concorreram a essa verba de financiamento. Ao descrever os elementos que constituem esse campo de produção torna-se possível elucidar aspectos específicos da experiência de trabalho artístico dos indivíduos que compõem esses grupos teatrais da cidade. / Institutional features must be taken into account in order to understand the organization of artistic labor. The shapes artistic organizations might take are closely related to the development of the artistic fields of production they pertain. This thesis focuses on a field of theatre production in São Paulo known as Teatro de grupo. I argue that the approval of a law called Lei de Fomento ao Teatro para a cidade de São Paulo in 2002 was a turning point towards this fields construction. Aiming to explore the ways by which this law continues to be one of the core mechanisms of this particular part of the artistic production, I gathered data on theater groups in the city through documental research and field work. Describing he elements that constitute this specific field elucidates the aspects of the labor experience of the artists who are part of these groups.

The overall aim of this portfolio was to develop an understanding of how music fits socially, historically, and technically into the landscape of 21st century culture. The aims of the portfolio were to explore static harmony (resonance), statistically similar melodic sequences, electronic drones, rhythmic development (cycles), melodic development, and non-linear textures. A compositional process turned personal journey became the driving energy for these works, and one can see a clear development, as each piece is built on the findings of previous ones. The musical language became more sophisticated as a result of both these new techniques as well as interactions with other collaborators (including musicians, dancers, scientists, visual artists, and programmers). Each of the technical aims was developed throughout the creation of the portfolio. These are among the techniques which helped shape late 20th century music, with the goal of joining some of them together in new and aesthetically pleasing ways. Early on, there was a shift in the way they were applied, especially creating resonance, which was first done with acoustic instruments and then electronic drones. The repetition and rhythmic cycles also developed by using transition matrices from a Markov Chain process to create 'melody rhythms' (discussed more in Sequence). Pieces like Lost in Space and Smoke of Freedom were written by combining all of these techniques together in a fusion of static harmony, rhythmic cycles, and expressive melodies. I also had a social motivation when writing these works. For example, Wind Gust 42058 uses the trend of 'data is the new gold' by giving the audience a meaningful way to 'experience the data'. Also, Smoke of Freedom tells the story from the perspective of a man who is oppressed in China, not dissimilar from the four Hong Kong book sellers who were taken away by Chinese authorities for 'selling restricted books'. When this occurred in 2015, a lot of people were thinking of leaving the city in search of a more open society, and Smoke of Freedom follows the story of a man who does exactly that, leaving everything behind in search of a better life. The Answered Hymn is a unique piece in that it was performed at Westminster Abbey and St. Martin-in-the-Fields for special services celebrating the 500th anniversary of Lutheranism. The performances brought together 12 different choirs from around the world, each singing in their own language, and, in a 'Post-Brexit' United Kingdom, aimed to bring together themes of multi-nationalism and peace. The musical language developed during the course of this portfolio shows how musical technique can fit into and comment on the social, technological, and historical landscape of 21st century culture.

Esta pesquisa, em uma estratégia cartográfica de imersão no cotidiano do Serviço Residencial Terapêutico Morada São Pedro – serviço da rede substitutiva ao manicômio no cuidado em saúde mental – cria um aporte teórico, um eixo reflexivo, partindo do convite à criação de práticas de cuidado em saúde mental. A convocação ao pensamento se dá por composição, numa evolução que busca escapar de circularidades, passando por elaborações acerca do acolhimento à diferença-em-nós como um primeiro movimento de acoplamento de alteridade. Orientado pela perspectiva da composição de novos e inovadores espaços de produção de cuidado e acolhimento ao sofrimento psíquico, busca-se explorar o conceito de “território em ato” como potencial das artes, potencial do convite à participação e expressão dos coletivos (trabalhadores, alunos residentes) convocados à criação de práticas. Ao colocar-se ao lado e no lugar do cuidado, em pelo menos duas orientações iniciais para as práticas – invenção de um espaço teatral para trocas com a equipe de cuidado do serviço em questão e acompanhamento a moradores – o ator-pesquisador imergiu em uma proposta de pesquisa-intervenção na qual as práticas do cuidado em saúde mental se mostraram limitadas ao esbarrar em lógicas institucionais. O eixo de formação em serviço, com orientação multiprofissional, e o vislumbre de uma “pedagogia da implicação”, que convoca os coletivos de produção de saúde a trocas e acolhimento das demandas, em uma disponibilidade de escuta e exposição continuada, orientam as expectativas de acolhimento às expressões, busca de liberdade e capacidade inventiva. / This research, in a cartographic strategy of immersion in the daily life of the Residential Therapeutic Service Morada São Pedro – service of the substitute network to the asylum in mental health care – creates a theoretical contribution, a reflexive axis, starting from the invitation to the creation of care practices in mental health. The call to thought is given by composition, in an evolution that seeks to escape from circularities, passing through elaborations about the reception to the difference-in-us as a first movement of coupling of otherness. Oriented by the perspective of the composition of new and innovative spaces for the production of care and acceptance of psychic suffering, we sought to explore the concept of "in act territory" as the potential of the arts, the potential of the invitation to participation and expression of the collectives (workers, Residency students) called for the creation of practices. By placing beside and in the place of care, in at least two initial guidelines for the practices - the invention of a theatrical space for exchanges with the care team of the service in question and follow-up of the residents - the actor-researcher immersed himself in a research-intervention proposal in which mental health care practices has been shown limited when bumping into institutional logics. The axis of in-service training, with a multiprofessional orientation, and the glimpse of a "pedagogy of implication", which calls on health production collectives to exchange and reception to demands, in readiness to listen and ongoing exposure, guide the expectations of acceptance of expressions, search for freedom and inventiveness.

Lam, Wing Man Wynne. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 40-41). / Abstract also in Chinese. / Chapter 1 --- Introduction --- p.1 / Chapter 2 --- The Model --- p.5 / Chapter 3 --- One-Period Game --- p.8 / Chapter 3.1 --- Revenue Share --- p.8 / Chapter 3.2 --- Implications --- p.11 / Chapter 4 --- Two-Period Game --- p.12 / Chapter 4.1 --- Contract Duration --- p.12 / Chapter 4.2 --- Implications --- p.16 / Chapter 5 --- Two-Sided Game --- p.17 / Chapter 5.1 --- Negotiation of the Share --- p.17 / Chapter 5.2 --- Implications --- p.20 / Chapter 5.3 --- Discussion --- p.21 / Chapter 6 --- Conclusion and Ideas for Future Research --- p.24 / Chapter 7 --- Appendices --- p.26

The purpose of this study was to determine if there was a significant relationship between the academic achievement as measured by ACT English, math, and composite scores of students who took 6 or more credits of weightlifting, 6 or more credits of performing arts, or no elective focus in an East Tennessee high school serving grades 9-12 from the graduating classes of 2010 through 2014. The independent variables were the elective focus groups students took during high school and race and ethnicity. The dependent variables were ACT English, math, and composite scores. A series of one-way analyses of variances (ANOVAs) were performed to examine the differences in the mean ACT scores for the students taking 6 or more credits of weightlifting, 6 or more credits of performing arts, or no elective focus. Significant differences were found between the ACT English, math, and composite scores for students taking 6 or more credits of performing arts and no elective focus and students taking 6 or more credits or weightlifting and no elective focus. There was not a significant difference between the students taking 6 or more credits of weightlifting and 6 or more credits of performing arts. Based upon the findings of the study students taking 6 or more credits of performing arts had significantly higher ACT English, math, and composite scores than students with a weightlifting focus or no elective focus. Two-way analyses of variance were also performed to study the relationships between the academic performance as measured by ACT English, math, and composite scores of White and non-White students. White students performed significantly higher than non-White students on ACT English, math, and composite scores. There was no significant interaction between race and ethnicity and elective focus groups; however, there were significant main effects in race and ethnicity and elective focus groups. There were significant differences in the ACT math and composite scores between the weightlifting and performing arts groups as well as performing arts and no elective focus area. There was not a significant difference between the weightlifting and no elective focus. There were significant differences between all pairs of groups for ACT English. The performing arts focus group scored significantly higher than the other groups on all 3 ACT subtests.

Whether you are a student technician or a union rigger, The Arena Riggers' Handbook is a "must have" book for your library. Written by experienced and certified riggers, this book clearly describes all aspects of arena rigging, including: hardware, rigging techniques, electricity, rigging math, safety and more. It even includes an arena rigging quiz to help you access your preparedness for taking an arena rigging certification exam. / https://dc.etsu.edu/etsu_books/1087/thumbnail.jpg

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The Rigging Math Made Simple Workbook is a companion to Rigging Math Made Simple, Second Edition, and contains rigging math problems to help riggers hone their math skills. The chapters in this book parallel the lessons in Rigging Math Made Simple, Second Edition, and the answers to all problems are found at the end of each chapter. / https://dc.etsu.edu/etsu_books/1050/thumbnail.jpg

abstract: As a result of social media platforms such as Facebook, Twitter and blogs, works can be distributed and viewed at a global scale with the simple click of the mouse. One can even visit entire museums and virtually walk through their collections without having to leave one’s own seat. Furthermore, new software, programs, and digital tools facilitate and make possible the ability to experiment and create one’s art in ways that were previously unimaginable or even unheard of. This is also true with the dissemination of one’s art and the visibility of contemporary artists who create works pertaining to the digital realm. However, the availability, usage, and training associated with such technologies do not come without its own implications and drawbacks. Unfortunately, there exists a great disparity not only with access and availability of the Internet at a global level, but also a digital divide, which indicates that the technologies and sciences are “gendered”—for instance, the male majority in STEM professions and fields of study. When considering the Humanities, specifically the genre of contemporary art and literature, women’s marginalization is witnessed there too, as distinguished canonical works belong to predominantly Caucasian, Anglo-Saxon men. In the digital age then, Iberian and Latin American women writers and artists face the challenge of visibility and recognition in two territories—technology and contemporary artistic creation—dominated by men. This study gathers contemporary female artists of digital works originating from North America, the Caribbean, South America, and Spain who utilize a wide variety of tools to conduct and create their artwork. The artists and authors analyzed in this project include: Teresa Serrano (México, D.F. 1936-), Adriana Calatayud (México, D.F. 1967-), Ana Mendieta (Havana, 1948-1985), Maritza Molina (Havana), Yasmín S. Portales Machado (Havana, 1980-), María María Acha-Kutscher (Lima, 1968-), Praba Pilar (Colombia), María Cañas (Seville, 1972-), and Pilar Albarracín (Arcena, Huelva 1968-), with the objective of investigating the manner in which digital tools are being used by these women artists and writers for the purpose visibility, identity (de)construction, as spaces of resistance, and to explore how those messages are transmitted and transformed through digital mediums. / Dissertation/Thesis / Doctoral Dissertation Spanish 2019

abstract: The main objective of this research project is to expand the bassoon repertoire with the addition of three pieces. The first composition, Rust for bassoon and piano, was written by Christopher Marchant and is six minutes in duration; august, for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon) was composed by Matthew Triplett and is four minutes in duration; the third composition, Rhapsody for woodwind quartet, was written by Conor Anderson and is six minutes in duration. The present document includes background information and a performance guide for each of the commissioned works. The performance guide provides recommendations and tips to aid musicians in preparing these works. This document also contains transcripts of interviews with each composer and performer. Finally, this document is accompanied by a recording of each piece. / Dissertation/Thesis / Christopher Marchant - Rust / Matthew Triplett - august, I. wake / Matthew Triplett - august, II. cicada breath / Conor Anderson - Rhapsody / Doctoral Dissertation Performance 2019