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This thesis explores the subject of stillness: specifically the stillness that occurs in the midst of movement, turbulence or chaos. It is found in the midst of movement and can also be conceived as that which frames, or holds all movement. A principal focus of the thesis is to distinguish the therapeutic value of this stillness.The research methodology is hermeneutic phenomenology. Within this framework a choreographed dance work and written exegesis comprise and are equal parts of the whole. The choreography for the dance work employs a neo-classical-contemporary technique particular to the choreographer. A story and a journey are presented - providing a vehicle for the central theme of the thesis - stillness within movement, to be best elucidated. A Christo-centric philosophy and worldview are ground of the work.The dance work is choreographed on and presented by four dancers. These four dancers and four 'watchers' are the research participants. As the dance work evolved it was presented 'in process' and the participants interviewed subsequent to the showings. These interviews were not psychotherapy sessions, so data about interventions, process and outcome does not appear. Rather information was sought about the essence of the danced / watched experience, with particular attention being given to the felt experience of stillness. Data gained from these interviews constitutes the findings of the research.The findings show that the particular stillness exampled in this dance work is therapeutic, and therapeutic experience for the individual participants was realised. The data suggests the stillness was experienced in a number of different ways.These include: a personal relationship with chaos, the significance of relationship with each other, the particular relevance of design and time in the individual's life, the meaning of authenticity, the relevance and meaningfulness of symbolism, and the personal understanding of awareness, focus and release.This research shows that we who are psychotherapy clients, practitioners, and people of all walks would greatly benefit through including into daily life this 'stillness immanent within movement.'

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Choreografijos pamokoje per estetinį pajautimą, estetizuotą judesį, vidinę bei išorinę harmoniją, emocijas galima siekti aukščiausių harmoningos asmenybės formavimo(si) bei ugdymo(si) tikslų. Pasitelkus šokį sąžiningumas, atsakomybė, tolerancija, valia taps vaiko savastimi, norma, neišvengiamumu ir kasdieniu jo orientyru bei poreikiu. Darbo tikslas – išanalizuoti moralinių vertybių ugdymo(si) galimybes choreografijos pamokoje. Meninio ugdymo kontekste vertybių formavimasis yra susijęs su pasirinkimu bei lemia daugelį sprendimų, kurie priklauso nuo individo asmeninės patirties ir santykių (tarpkultūrinėje erdvėje mokiniai mokosi būti atviri, sąžiningi, atsakingi, pakantūs, pagarbūs, draugiški ir tolerantiški žmonių pažiūroms, papročių, tradicijų, vertybių įvairovei). Choreografijos pamoka yra viena iš meninio ugdymo disciplinų. Sistemingai, nuosekliai apmąstydami choreografijos pamokos tikslus, jų realizavimo galimybes, choreografijos mokytojai galėtų tinkamai parengti ir papildyti pamokos turinį, ugdymo principus ir metodus, kurie realizuotų galimybes formuoti ir internalizuoti moralines vertybes. Tyrime dalyvavę choreografijos mokytojai pripažįsta, jog gerbia vaiko unikalumą bei sudaro sąlygas mokiniams priimti moralinius sprendimus užduočiai atlikti, taip skatindami sąžiningumo, atsakingumo, valios galios, pasitikėjimo savo jėgomis, ugdymą(si), tačiau nepakankamai bendradarbiauja su etikos mokytojais, stokoja etikos dalyko žinių, kurie padėtų ugdyti moralines vertybes... [toliau žr. visą tekstą] / During dance lesson in aesthetic sense, aesthetical movements, internal and external harmony, emotions, the highest possible formation of a harmonious personality and educational purposes can be achieved. With the help of dance, such features as honesty, responsibility, tolerance, faith will become the child’s rate, coupled with everyday need and reference. The aim of the research is to analyze the raising possibility of moral values during dance lesson. In the context of art education, the formation of values in related to the selection and leads to many solutions which depend on individual’s personal experience and relationship (in intercultural space students learn to be open, honest, responsible, tolerant, respectful, friendly for human point of view, culture, traditions, customs. Dance lesson is one of the art education subjects. In order to arrange the content of the lesson, principles and methods properly, the teacher should develop systematic, coherent reflection of lesson objectives which help to develop moral values. The majority of the dance teachers who have participated in the research respect the child’s uniqueness, individuality, also, they stimulate friendly communication and cooperation in part or group, create conditions for students to choose the forms of their creative work. In this way teachers motivate students honesty, responsibility, will, self-confidence. However there is a lack of cooperation with teachers of Ethics the knowledge of subject which... [to full text]

With service interaction modelling, it is customary to distinguish between two types of models: choreographies and orchestrations. A choreography describes interactions within a collection of services from a global perspective, where no service plays a privileged role. Instead, services interact in a peer-to-peer manner. In contrast, an orchestration describes the interactions between one particular service, the orchestrator, and a number of partner services. The main proposition of this work is an approach to bridge these two modelling viewpoints by synthesising orchestrators from choreographies. To start with, choreographies are defined using a simple behaviour description language based on communicating finite state machines. From such a model, orchestrators are initially synthesised in the form of state machines. It turns out that state machines are not suitable for orchestration modelling, because orchestrators generally need to engage in concurrent interactions. To address this issue, a technique is proposed to transform state machines into process models in the Business Process Modelling Notation (BPMN). Orchestrations represented in BPMN can then be augmented with additional business logic to achieve value-adding mediation. In addition, techniques exist for refining BPMN models into executable process definitions. The transformation from state machines to BPMN relies on Petri nets as an intermediary representation and leverages techniques from theory of regions to identify concurrency in the initial Petri net. Once concurrency has been identified, the resulting Petri net is transformed into a BPMN model. The original contributions of this work are: an algorithm to synthesise orchestrators from choreographies and a rules-based transformation from Petri nets into BPMN.

This thesis explores the subject of stillness: specifically the stillness that occurs in the midst of movement, turbulence or chaos. It is found in the midst of movement and can also be conceived as that which frames, or holds all movement. A principal focus of the thesis is to distinguish the therapeutic value of this stillness.The research methodology is hermeneutic phenomenology. Within this framework a choreographed dance work and written exegesis comprise and are equal parts of the whole. The choreography for the dance work employs a neo-classical-contemporary technique particular to the choreographer. A story and a journey are presented - providing a vehicle for the central theme of the thesis - stillness within movement, to be best elucidated. A Christo-centric philosophy and worldview are ground of the work.The dance work is choreographed on and presented by four dancers. These four dancers and four 'watchers' are the research participants. As the dance work evolved it was presented 'in process' and the participants interviewed subsequent to the showings. These interviews were not psychotherapy sessions, so data about interventions, process and outcome does not appear. Rather information was sought about the essence of the danced / watched experience, with particular attention being given to the felt experience of stillness. Data gained from these interviews constitutes the findings of the research.The findings show that the particular stillness exampled in this dance work is therapeutic, and therapeutic experience for the individual participants was realised. The data suggests the stillness was experienced in a number of different ways.These include: a personal relationship with chaos, the significance of relationship with each other, the particular relevance of design and time in the individual's life, the meaning of authenticity, the relevance and meaningfulness of symbolism, and the personal understanding of awareness, focus and release.This research shows that we who are psychotherapy clients, practitioners, and people of all walks would greatly benefit through including into daily life this 'stillness immanent within movement.'

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

Thesis (M.A. in Dance)--Shenandoah University, 2004. / Includes bibliographical references.

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.)--Texas Woman's University, 2005. / Includes bibliographical references (leaves 208-218). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.