Ballet in a Box: Iso-Ballet, Lockdown, and the Reconstruction of the Domestic Space

In the first wave of the Covid-19 pandemic, the principal mitigation strategies were physical distancing and the dramatic restriction of socializing with others. The absence of live performances meant arts institutions had to reconsider their relationship with audiences and thoroughly rethink what they do. While many institutions uploaded videos of past performances, some dance companies created new performances specifically for online media that have provided an opportunity for dancers to remain active and visible during the COVID lockdowns. We borrow the term iso-dance to collectively refer to these performances, a term that succinctly invokes both the medium (dance) and the conditions under which the performance is conducted (isolation). We examine how performances of ballet dancers from professional companies were informed by the home environment. We propose the examination of iso-ballet helps us understand relationships between video, bodily movement and the particular affordances of the home, as well as invite us to question the ways we inhabit and constitute places through creative, bodily practices. (English) [ FROM AUTHOR] Durante la primera oleada de la pandemia del COVID-19, las principales estrategias de mitigación fueron el distanciamiento físico y la dramática restricción de socializar con los demás. La ausencia de actuaciones escénicas en directo significó que las instituciones de arte tuvieran que reconsiderar lo que hacían. Si bien muchas de las instituciones subieron videos de actuaciones anteriores, algunas compañías de baile montaron nuevas actuaciones destinadas específicamente a los medios en línea, que han proporcionado a los bailarines la oportunidad de continuar activos y visibles durante los encierros por el COVID. Tomamos en préstamo la expresión iso-danza para referirnos colectivamente a estas representaciones, una expresión que de modo sucinto invoca tanto al medio (la danza) como las condiciones bajo las cuales se conduce la actuación (aislamiento). Examinamos cómo el entorno hogareño pudo influir en las actuaciones de los bailarines de ballet de las compañías profesionales. Proponemos que el examen del iso-ballet nos ayude a entender las relaciones entre vídeo, el movimiento corporal y las posibilidades particulares del hogar, igual que nos invite a cuestionar las formas como habitamos y construimos lugares por medio de prácticas creativas y corpóreas. (Spanish) [ FROM AUTHOR] COVID-19初期的主要应对措施, 是保持距离和尽量限制社交。现场演出的禁止, 意味着艺术团体必须重新考虑与观众的关系、彻底重新思考其工作。许多艺术团体上传了之前的演出视频, 一些舞蹈公司还在网络媒体创作了新的演出, 为舞者在COVID-19封锁期间保持活跃度和关注度提供了机会。我们将这些演出统称为"隔离舞蹈”, 以简洁地涵盖媒介（舞蹈）和演出条件（隔离）。我们研究了住宅环境如何影响专业公司芭蕾舞演员的演出。我们认为, 对"隔离芭蕾舞”的研究, 有助于理解视频、身体活动和住宅条件之间的关系, 并通过创造性身体行为去质疑我们占据和构建场所的方式。 (Chinese) [ FROM AUTHOR] Copyright of GeoHumanities is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)

Advanced Dance Choreography System Using Bidirectional LSTMs

Recently, the craze of K-POP contents is promoting the development of Korea's cultural and artistic industries. In particular, with the development of various K-POP contents, including dance, as well as the popularity of K-POP online due to the non-face-to-face social phenomenon of the Coronavirus Disease 2019 (COVID-19) era, interest in Korean dance and song has increased. Research on dance Artificial Intelligent (AI), such as artificial intelligence in a virtual environment, deepfake AI that transforms dancers into other people, and creative choreography AI that creates new dances by combining dance and music, is being actively conducted. Recently, the dance creative craze that creates new choreography is in the spotlight. Creative choreography AI technology requires the motions of various dancers to prepare a dance cover. This process causes problems, such as expensive input source datasets and the cost of switching to the target source to be used in the model. There is a problem in that different motions between various dance genres must be considered when converting. To solve this problem, it is necessary to promote creative choreography systems in a new direction while saving costs by enabling creative choreography without the use of expensive motion capture devices and minimizing the manpower of dancers according to consideration of various genres. This paper proposes a system in a virtual environment for automatically generating continuous K-POP creative choreography by deriving postures and gestures based on bidirectional long-short term memory (Bi-LSTM). K-POP dance videos and dance videos are collected in advance as input. Considering a dance video for defining a posture, users who want a choreography, a 3D dance character in the source movie, a new choreography is performed with Bi-LSTM and applied. For learning, considering creativity and popularity at the same time, the next motion is evaluated and selected with probability. If the proposed method is used, the effort for dataset collection can be reduced, and it is possible to provide an intensive AI research environment that generates creative choreography from various existing online dance videos.

WEIGHTS AND PRESSURES Precarity and Democracy's Legislative Subjects

This short essay introduces the Our Dance Democracy (ODD) project (2018–present) and the contributions to this Forum Kritika, "Dancing Democracy in a Fractured World.” The latter includes articles, provocations, and creative responses in visual and poetic forms. Dance is an art form positioned between artists and audiences, on one hand, and institutional structures— including funding regimes and performance venues—on the other. As state and civil society infrastructure experiences pressure arising from neoliberal political economy and the exacerbating effects of the global COVID-19 pandemic, dance-makers experience increasingly burdensome conditions as artists, citizens, and human beings. Choreography itself emerges as a zone of contested meaning as the word migrates from the studio to the boardroom, and shared precarity and common-ground politicized identities both constellate, and distinguish from each other, creative practitioners in the Global North and the Global South. The role of the West as bearer of the taxonomic gaze is foregrounded, not only as experienced, historically, by colonialized Others, but by citizens of liberal democracies. As a process of critical questioning, testing the elasticity of boundaries to thought and action, Dance practices may well constitute examples of human flourishing without which the enduring promises of democracy cannot be realized. © Ateneo de Manila University.

Economies of Reperformance: Unearthing Racial Capitalism in Dancing at Dusk

As the very first wave of the Covid-19 pandemic ebbed in the United States, a new production of Pina Bausch's The Rite of Spring (1975) appeared online. Performed on Senegal's shoreline, Dancing at Dusk resituates Bausch's choreography within the beach's formative histories of racialized violence, colonialism, and white supremacy. In this context, the performance also prompts considerations of the relationships between the enduring histories of racial capitalism and the futures of choreographic economies. [ FROM AUTHOR] Copyright of TDR: The Drama Review (Cambridge University Press) is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)

Institutional teaching choreographies in education for sustainability in times of pandemic: the Ocean i3 project

PurposeThe purpose of this paper is to examine the design of choreographies or learning environments which the students participating in Ocean i3 pass through during their participation in the project, which requires constant review and interpretation, in times of COVID-19. To this end, it is proposed to: define the institutional teaching choreographies to create authentic and meaningful environments for the active learning of university students;interpret the transversal competences for the sustainability developed in Ocean i3 within the framework of institutional teaching choreographies;and value the strengths and weaknesses of the teaching choreographies implemented for the development of transversal competences for sustainability in a situation of health-care crisis.Design/methodology/approachAn exploratory method with an interpretative approach has been selected that enables us to address living and evolving scenarios, didactic choreographies and the development of competences for sustainability.FindingsThe perception of students and teachers reveals that it is the use of a multilingual linguistic repertoire (multilingualism) that is most enhanced in Ocean i3, although the global and integrative vision of problems and the integration and management of knowledge through contributions from different disciplines and the social context (transdisciplinarity) are also highlighted.Originality/valueThis paper describes how face-to-face institutional teaching choreographies for an innovation project have been transformed into synchronous online choreographies encouraging the development of competences for sustainability.

KAZAKHSTAN EXPERIENCE IN DISTANCE LEARNING IN HIGHER EDUCATION IN THE FIELD OF CHOREOGRAPHY

The study examines the features of the distance learning system of the university in the field of choreography training. The purpose of the study is to analyze the Kazakhstan experience of organizing distance learning in higher education in the field of choreography training. As an example, the experience of the [BLINDED] in the distance learning process has been analyzed and practical recommendations on teaching professional disciplines in this field of training have been given. To analyze distance learning, surveys among teachers and students have been conducted. In addition, based on international scientific literature, dance lessons have been analyzed in accordance with COVID-19 restrictions. The disadvantages and advantages of the online learning system for students have been identified based on a questionnaire. The survey involved teachers and students of ballet pedagogy, choreography pedagogy, choreography directing, ballroom dance pedagogy, as well as undergraduate, graduate, and doctoral students. A total of 20 teachers and 75 students have been interviewed, and the effectiveness of the platforms used in distance learning has been determined. On the basis of available research, the opinion that in the field of choreography pedagogical skills of rising professionals and performers cannot be formed exclusively through distance learning has been substantiated. © 2022 Universidad Jaume I de Castellon. All rights reserved.

Kazakhstan Experience in Distance Learning in Higher Education in the Field of Choreography

The study examines the features of the distance learning system of the university in the field of choreography training. The purpose of the study is to analyze the Kazakhstan experience of organizing distance learning in higher education in the field of choreography training. As an example, the experience of the [BLINDED] in the distance learning process has been analyzed and practical recommendations on teaching professional disciplines in this field of training have been given. To analyze distance learning, surveys among teachers and students have been conducted. In addition, based on international scientific literature, dance lessons have been analyzed in accordance with COVID-19 restrictions. The disadvantages and advantages of the online learning system for students have been identified based on a questionnaire. The survey involved teachers and students of ballet pedagogy, choreography pedagogy, choreography directing, ballroom dance pedagogy, as well as undergraduate, graduate, and doctoral students. A total of 20 teachers and 75 students have been interviewed, and the effectiveness of the platforms used in distance learning has been determined. On the basis of available research, the opinion that in the field of choreography pedagogical skills of rising professionals and performers cannot be formed exclusively through distance learning has been substantiated.

Designing a Choreographic Interface During COVID-19

In 2019, metaLAB (at) Harvard began work on Curatorial A(i)gents, a digital exhibition that was slated to premiere at the Harvard Art Museums' Lightbox Gallery in 2020. Half of the projects would be interactive, using mouse and keyboard conventions. With the advent of Covid-19 and the postponement of the show, the authors set out to develop an interface solution that would enable visitors to interact with the works without having to touch any public devices like a tablet. Toward this end, we prototyped a "choreographic interface"that uses machine vision and machine learning to interpret a full-torso gestural vocabulary, which is then translated into interactions. To make the choreographic interface, we relied on open-source solutions, which have all come with equal limitations and opportunities. In 2022, Curatorial A(i)gents was presented in the Lightbox Gallery, where we had the opportunity to test and demonstrate the interface. This paper discusses our design journey in making a choreographic interface using open-source technologies during Covid-19. © 2022 ACM.

Evaluations of service robots referring to Joruri puppets, and a remote evaluations system

One of the important requirements for service robots is attracting people by attractiveness and to be able to exchange messages with people. With reference to the traditional Japanese puppet show, Ningyo Joruri, we have independently developed OSONO, which is a physical robot, with high-quality choreography. In this paper, we report questionnaire evaluations on OSONO targeting a puppeteer expert group and compare with existing questionnaire results targeting the ordinary person. This shows that the method of creating OSONO and its choreography is effective in widely general. Additionally, we develop a remote evaluations system so that we can conduct questionnaires of OSONO in a short time for more evaluators. We also verify the effectiveness of this remote evaluation system. This system can be expected as a substitute for the conventional face-to-face evaluation, which is becoming difficult to conduct it due to the pandemic of COVID-19. © 2021 IEEE.

Global Intimacies: China and/in the Global South

[...]Cai Yiping's News and Views offers a nuanced engagement with the Chinese government's formal proclamations on women's rights.1 In the first essay, "Flexible Intimacies in the Global Intimate Economy: Evidence from Taiwan's Cross-Border Marriages," Mei-Hua Chen and Hong-zen Wang demonstrate the fallacy of treating cross-border marriages and cross-border sex work as separate as well as grouping women dichotomously under one or the other set of practices. Most migrant men experience a profound sense of emasculation as they struggle against the exclusionary forces of what Cheng calls the "racial-border regime." Because these men tend to embrace idealized roles of husband, father, and breadwinner, many experience an "existential dislocation" in Hong Kong that manifests as unending dependence and uncertainty. While these gay parents believe it is only natural to desire children, they also seek a genetic link with their offspring, a Eurasian biological mixture for their children, and a normative family life that, they hope, will lead to greater acceptance in Chinese society. According to Liu, the Chinese state champions "equality between men and women" as a means to justify its leadership in the Global South, but it will not embrace "gender equality," which might include transgender rights, same-sex marriage, reproductive freedom, battles against the policing of gender expression, and new configurations of family and kinship.

Blockchain-oriented Inter-organizational Collaboration between Healthcare Providers to Handle the COVID-19 Process

Collaborative business activities have aroused great interest from organizations because of the benefits they offer. However, sharing data, services, and resources and exposing them to external use can prevent organizations involved in collaboration from being engaged. Therefore, the need for advanced mechanisms to ensure trust between the different parties involved is paramount. In this context, blockchain and smart contracts are promising solutions for performing choreography processes. However, the seamless integration of these technologies as non-functional requirements in the design and implementation phases of inter-organizational collaborative activities is a challenging task, as reported in the literature. Consequently, we aim in the proposed approach to extend the modeling and implementation of the choreography lifecycle based on service-oriented processes. This is fulfilled by integrating blockchain transactions and smart contract calls, to allow collaboration and interoperability between different entities while guaranteeing trust and auditability. Moreover, to conduct this extension efficiently we use a BPMN choreography diagram combined with Finite State Automata to ensure a meticulous modeling which targets the processes' internal interactions. Hyperledger Fabric is used as a permissioned blockchain for proof-of-concept implementation. A use case of COVID-19 collaborative processes is used to experiment our approach, which aims to guarantee a fluid collaboration between healthcare providers and epidemiological entities at a national scale in Morocco.

Verifying compliance in process choreographies: Foundations, algorithms, and implementation

The current push towards interoperability drives companies to collaborate through process choreographies. At the same time, they face a jungle of continuously changing regulations, e.g., due to the pandemic and developments such as the BREXIT, which strongly affect cross-organizational collaborations. Think of, for example, supply chains spanning several countries with different and maybe even conflicting COVID19 travelling restrictions. Hence, providing automatic compliance verification in process choreographies is crucial for any cross-organizational business process. A particular challenge concerns the restricted visibility of the partner processes at the presence of global compliance rules (GCR), i.e., rules that span across the process of several partners. This work deals with the question how to verify global compliance if affected tasks are not fully visible. Our idea is to decompose GCRs into so called assertions that can be checked by each affected partner whereby the decomposition is both correct and lossless. The algorithm exploits transitivity properties of the underlying rule specification, and its correctness and complexity are proven, considering advanced aspects such as loops. The algorithm is implemented in a proof-of-concept prototype, including a model checker for verifying compliance. The applicability of the approach is further demonstrated on a real-world manufacturing use case.

The Kaon’CPT Collective: Building a musical culture of not-in-real-life performance through conducted live comprovisation

In this article we describe a Networked Music Collective for online live performance events. Four characteristics of live performance (bodies, space and time, musical culture and social process) are identified as the conceptual and technological basis of our approach. Our recent distributed comprovisation, Perripplayear, is used to illustrate these concepts and to describe the technology stack we employed. The Kaon’CPT collective uses diverse instrumentation including acoustic and electronic instruments, voice and digital musical instruments (DMIs). Its members span 12 time zones and their comprovisation is conducted via a custom distributed score.

Work experience of a regional patient organization, parents of children with juvenile arthritis

Introduction: The issues of medical supervision of children with rheumatological diseases are key and priority, but not the only ones when observing patients of this group in real clinical practice. A serious problem in the solution of which the participation of medical personnel is also necessary is the problem of social adaptation of young patients with such a serious pathology. Social adaptation issues include psychological, moral, ethical, deontological and other problems that may arise both in organized groups and in the families of these children. Objectives: In the Saratov region of the Russian Federation, a regional patient organization has been functioning for almost 10 years, uniting the parents and children of JIA patients themselves. Methods: The public association of parents whose children are sick JIA Life Without Pain was created in August 2011 and when it was created, it aimed to provide maximum assistance in the implementation of the treatment process to achieve the best result. Results: During its work, the methods and operational goals of the association have undergone certain changes. Taking into account the successfully functioning all-Russian patient organizations capable of having a significant impact on the organization of care for children at the federal level, a natural revision of the goals of the regional patient structure took place. So, as the most relevant were preserved - the possibilities of operational interaction with regional health authorities (regional ministry), operational monitoring of drug supply, as well as educational programs and socio-cultural programs for sick children and their parents. One of the areas of socio-cultural activities of the regional patient association has become the organization of traditional regular events, most often timed to coincide with significant dates in the medical calendar - Word Arthritis Day, World Young Rheumatic Diseases Day and Children's Day. The material component of these events is based on the principles of fundraising, as well as with the sponsorship of the Russian Children's Fund. These events are very popular among children with JIA, especially taking into account the presented possibility of independent performances in various genres (painting, diclomation, choreography, original genre and others). During the COVID-19 pandemic, taking into account the needs of children, all these activities were saved and transferred to an on-line format. A separate aspect of the relevance of these events was the involvement of volunteers from among the students of the medical university. Conclusion: The feasibility of maintaining and functioning of small regional patient organizations is determined by the allocation of a rational segment of their activities in which the efficiency of their work will be maximum. In our case, such a segment is social and cultural events, educational and training activities and interaction with local health authorities.