Choreografija sportinėje gimnastikoje jau seniai pripažįstama, kaip specializuoto aukštos klasės sportininkų rengimo priemonė, padedanti padaryti kompozicijas originaliomis, išraiškingomis, įspūdingomis. Taigi tampa aktualu tirti gimnasčių koordinacijos lavinimą, taikant netradicinės choreografijos kompleksus kurie leistų atlikti įvairius elementus bei jų junginius ant prietaisų. Matydami šią problemą, manome, jog būtų tikslinga parengti kitokios struktūros choreografijos pratimų kompleksus, galinčius geriau lavinti tokio amžiaus jaunųjų gimnasčių koordinacinius gebėjimus ir kitas fizines ypatybes. Tyrimo hipotezė. Manome, kad 9-10 metų gimnasčių koordinaciniai gebėjimai ir kitos fizinės ypatybės galėtų geriau lavėti, taikant specialius netradicinius choreografijos pratimų kompleksus per sportinės gimnastikos pratybas. Tyrimo objektas. Koordinacinių gebėjimų lavinimas per sportinės gimnastikos pratybas. Tyrimo subjektas. 9- 10 metų sportinės gimnastikos tiriamosios mergaitės. Tyrimo tikslas. Išanalizuoti gimnasčių koordinacinių gebėjimų lavinimo aspektus per sportinės gimnastikos pratybas. Tyrimo uždaviniai : 1. Nustatyti 9 – 10 metų gimnasčių koordinacinių gebėjimų ir kitų fizinių ypatybių lygį eksperimento pradžioje. 2. Atlikti 9 – 10 metų gimnasčių koordinacinių gebėjimų ir kitų fizinių ypatybių rezultatų kaitos analizę eksperimento laikotarpiu. 3. Atskleisti taikytų netradicinės choreografijos pratimų kompleksų poveikį lavinant gimnasčių koordinacinius gebėjimus... [toliau žr. visą tekstą] / Choreography in artistics gymnastics has been recognized as a mean of preparing specialized high class sportsmen and helping to make compositions original, expressive, and impressive long time ago. Then it becomes important to investigate girls’ gymnasts’ training of coordination, applying unconventional complexes of choreography that would allow performing various elements and their combinations on certain equipment. While seeing this problem, we think that it is advisable to prepare complexes of choreographical exercises that are of different structure and can train young girls’ gymnasts’ coordinative abilities and other physical features. Hypothesis of the investigation: We think that coordinative competence and other physical properties of girls’ gymnasts’ that are of 9-10 years could develop better if special unconventional complexes of exercises in choreography would be applied during the practice of artistics gymnastics. Object of the investigation: Training of coordinative competence during the practice of artistics gymnastics. Subject of the investigation: Girls of artistics gymnastics that are 9-10 years old. Purpose of the investigation: To analyse aspects of girls’ gymnasts’ ability for coordinative competence during the practice of artistics gymnastics. Tasks of the investigation: 1. To measure coordinative competence and level of other physical abilities of girls’ gymnasts’ who are 9-10 years old at the beginning of the experiment. 2. To make an analysis during... [to full text]

Artistic outlets act as mechanisms with the potential to provide transformative effects on a psychological, emotional, and physical level. Unfortunately, barriers such as inequality (Erickson, 2008, p. 345) and the economic initiatives of art institutions have provoked the emergence of boundaries, hindering the opportunities and desire to engage (p. 345; Tepper, 2008, p. 363, 368). This practicum project responds to these obstructions by presenting an artistic institution that expands access to the art-form of dance by celebrating individual expression, collaboration, and cultural heritage. The Collaborative Dance Centre embraces the notion of a participatory culture and artist collective by breaking down hierarchal structures to present the general public and amateur artists with the opportunity to engage with the professional dance realm (Jenkins & Bertozzi, 2008, p. 174; Cotter, 2006, p. 21). These notions allow participants to gain exposure to the technical aspects associated with each genre, as well as the various elements of performance. By exploring experiential learning, and post-museum theory this practicum presents an interior that repositions boundaries to encourage participants to engage in experiences that are often restricted from the general public and amateur artists (Brooks-Harris & Stock-Ward, 1999, p. 122-124; Bruce, 2006, p129). The intricacies of dance have also been used to direct design development by employing the ingredients of choreography to guide design principles and elements (Humphrey, 1983, p. 46). The resulting interior connects people from diverse backgrounds through the act of dance stimulating growth, passion and transformation.

Ensemble learning is a promising direction of research in machine learning, in which an ensemble classifier gives better predictive and more robust performance for classification problems by combining other learners. Meanwhile agent-based systems provide frameworks to share knowledge from multiple agents in an open context. This thesis combines multi-agent knowledge sharing with ensemble methods to produce a new style of learning system for open environments. We now are surrounded by many smart objects such as wireless sensors, ambient communication devices, mobile medical devices and even information supplied via other humans. When we coordinate smart objects properly, we can produce a form of collective intelligence from their collaboration. Traditional ensemble methods and agent-based systems have complementary advantages and disadvantages in this context. Traditional ensemble methods show better classification performance, while agent-based systems might not guarantee their performance for classification. Traditional ensemble methods work as closed and centralised systems (so they cannot handle classifiers in an open context), while agent-based systems are natural vehicles for classifiers in an open context. We designed an open and social ensemble learning architecture, named J-model, to merge the conflicting benefits of the two research domains. The J-model architecture is based on a service choreography approach for coordinating classifiers. Coordination protocols are defined by interaction models that describe how classifiers will interact with one another in a peer-to-peer manner. The peer ranking algorithm recommends more appropriate classifiers to participate in an interaction model to boost the success rate of results of their interactions. Coordinated participant classifiers who are recommended by the peer ranking algorithm become an ensemble classifier within J-model. We evaluated J-model’s classification performance with 13 UCI machine learning benchmark data sets and a virtual screening problem as a realistic classification problem. J-model showed better performance of accuracy, for 9 benchmark sets out of 13 data sets, than 8 other representative traditional ensemble methods. J-model gave better results of specificity for 7 benchmark sets. In the virtual screening problem, J-model gave better results for 12 out of 16 bioassays than already published results. We defined different interaction models for each specific classification task and the peer ranking algorithm was used across all the interaction models. Our research contributions to knowledge are as follows. First, we showed that service choreography can be an effective ensemble coordination method for classifiers in an open context. Second, we used interaction models that implement task specific coordinations of classifiers to solve a variety of representative classification problems. Third, we designed the peer ranking algorithm which is generally and independently applicable to the task of recommending appropriate member classifiers from a classifier pool based on an open pool of interaction models and classifiers.

This is home. es una obra de danza exploratoria y abstracta que investiga la combinación de danza con historias y temas de inmigración. Por selecciones entretejidas de historias personales grabadas de inmigrantes hispanohablantes y francófonos, la danza desenreda niveles de complejidad. Motivos de movimiento que recurren incluyen la navegación completa de la vulnerabilidad absoluta, manejar por lo desconocido, lo desfamiliar, la desorientación, la confrontación, relaciones ambientales entre grupo e individual, el descubrimiento de sí mismo, el éxito o fracaso en comunicar y la presencia o falta del apoyo y la camaradería. Dado que la narración es abstracta, deja que el espectador determine el mensaje final. El departamento de danza de Scripps College tiene un vídeo de las representaciones del 17 y 18 de abril 2015. This is home. is an exploratory abstract dance work that investigates the merging of dance with stories and themes of immigration. By way of interwoven selections from recorded personal histories of Spanish and French-speaking immigrants, the piece unravels layers of complexity. Recurring movement motifs include the navigation of complete and utter vulnerability, steering through the unknown, unfamiliarity, disorientation, confrontation, environmental relationships between group and individual, self-discovery, success or failure in communication, and the presence or absence of support and camaraderie. Because the narrative is abstract, the ultimate message is left to the viewer’s interpretation. A digital recording of the piece as performed on April 17-18, 2015 is on file in the Scripps College Dance Department.

Artistic outlets act as mechanisms with the potential to provide transformative effects on a psychological, emotional, and physical level. Unfortunately, barriers such as inequality (Erickson, 2008, p. 345) and the economic initiatives of art institutions have provoked the emergence of boundaries, hindering the opportunities and desire to engage (p. 345; Tepper, 2008, p. 363, 368). This practicum project responds to these obstructions by presenting an artistic institution that expands access to the art-form of dance by celebrating individual expression, collaboration, and cultural heritage. The Collaborative Dance Centre embraces the notion of a participatory culture and artist collective by breaking down hierarchal structures to present the general public and amateur artists with the opportunity to engage with the professional dance realm (Jenkins & Bertozzi, 2008, p. 174; Cotter, 2006, p. 21). These notions allow participants to gain exposure to the technical aspects associated with each genre, as well as the various elements of performance. By exploring experiential learning, and post-museum theory this practicum presents an interior that repositions boundaries to encourage participants to engage in experiences that are often restricted from the general public and amateur artists (Brooks-Harris & Stock-Ward, 1999, p. 122-124; Bruce, 2006, p129). The intricacies of dance have also been used to direct design development by employing the ingredients of choreography to guide design principles and elements (Humphrey, 1983, p. 46). The resulting interior connects people from diverse backgrounds through the act of dance stimulating growth, passion and transformation.

All that pushes and pulls is a modern dance work that investigates the blurred relationship between individuality and conformity in Western society. The ensemble piece explores the influence of trends of individuality - social movements that emphasize individualism in an attempt to break from the conformity of mass society yet eventually become adopted into mainstream norms. Through an emphasis on personal movement styles, manipulation of uniform choreography, and explorations of group dynamics and spacing, the piece illustrates how individuals navigate these trends in a society where individual expression has become a requirement rather than a suggestion.

“‘Am I Sexy Yet?’: Contextualizing the Movement of Exotic Dance and Its Effects on Female Dancers’ Self-image and Sexual Expression” looks at exotic dancing in three contexts––a pole fitness studio, a strip club, and a college dance concert––and how the movement is experienced by the dancers in each space. It questions how the movement changes meaning for the dancers, audience, and mainstream culture based on the context and location, even with similar content. Specifically, it analyzes how the experiences of the dancers affect their self confidence, sexuality, and sexual expression. Then, it applies Audre Lorde's “Uses of the Erotic” to their experiences to show how this movement can be looked at through a different lens as deeper, more freeing, and more transgressive than it is usually thought to be.

Thesis (MChor)--University of Melbourne, Faculty of the Victorian College of the Arts and Music, 2010. / Typescript. Includes bibliographical references (leaves 65-69)

Thesis (Ph.D.)--York University, 2008. Graduate Programme in Communications and Culture. / Typescript. Includes bibliographical references (leaves 280-291). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR51686

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