Start where you are: Graphic ordering influences improvisational dance

This article is an analysis and reflection on the role of lists and diagrams in Start where you are, a multimedia improvisational piece performed as part of square zero independent dance festival: the second edition/la deuxième édition. This interdisciplinary festival was organised by collective (gulp) dance projects and took place in Ottawa, Canada, in August 2005. Start where you are was the result of a collaboration between the authors: two dance artists (Andrew and MacKinnon, the principals of (gulp)) and a visual communication designer (Gillieson). A sound artist and a lighting technician also participated in the work. This is a post-performance retrospective meant to analyze more closely the experience that meshed the evidentiary weight of words and graphics with the ephemerality and subjectivity of movement-based live performance. It contextualizes some of the work of collective (gulp) within a larger tradition of improvisation in modern dance. It also looks at how choice-making processes are central to improvisation, how they relate to Start, and how linguistic material can intersect with and support improvisational performance. Lastly, it examines some characteristics of lists and diagrams, unique forms of visual language that are potentially rich sources of material for improvisation.

Striving for inclusive design in the built environment: learning strategy adopted by policy implementers at local authorities in England

The research will explore views on inclusive design policy implementation and learning strategy used in practice by Local Authorities’ planning, building control and policy departments in England. It reports emerging research findings. The research aim was developed from an extensive literature review, and informed by a pilot study with relevant Local Authority departments. The pilot study highlighted gaps within the process of policy implementation, a lack of awareness of the process and flaws in the design guidance policy. This has helped inform the development of a robust research design using both a survey and semi-structured interviews. The questionnaire targeted key employees within Local Authorities designed to establish how employees learn about inclusive design policy and to determine their views on current approaches of inclusive design policy implementation adopted by their Local Authorities. The questionnaire produces 117 responses. Interestingly approximately 9 out of 129 Local Authorities approached claimed that they were unable to participate either because an inclusive design policy was not adopted or they were faced with a high workload and thus unable to take part. An emerging finding is a lack of understanding of inclusive design problems, which may lead to problem with inclusive design policy implementation, and thus adversely affect how the built environment can be experienced. There is a strong indication from the survey respondents indicating that they are most likely to learn about inclusive design from policy guides produced by their Local Authorities and from their colleagues.

Inclusive approaches to teaching and learning mathematics

This chapter explores the role of mentors in supporting pre-service teachers to include all children in mathematics teaching, no matter what their individual needs.

Neurocognitive control in dance perception and performance

Dance is a rich source of material for researchers interested in the integration of movement and cognition. The multiple aspects of embodied cognition involved in performing and perceiving dance have inspired scientists to use dance as a means for studying motor control, expertise, and action-perception links. The aim of this review is to present basic research on cognitive and neural processes implicated in the execution, expression, and observation of dance, and to bring into relief contemporary issues and open research questions. The review addresses six topics: 1) dancers’ exemplary motor control, in terms of postural control, equilibrium maintenance, and stabilization; 2) how dancers’ timing and on-line synchronization are influenced by attention demands and motor experience; 3) the critical roles played by sequence learning and memory; 4) how dancers make strategic use of visual and motor imagery; 5) the insights into the neural coupling between action and perception yielded through exploration of the brain architecture mediating dance observation; and 6) a neuroaesthetics perspective that sheds new light on the way audiences perceive and evaluate dance expression. Current and emerging issues are presented regarding future directions that will facilitate the ongoing dialogue between science and dance.

Procedural justice in procurement management and inclusive interorganizational relations: an institutional perspective

This paper applies the concept of procedural justice to one of the most important focal points of interorganizational relations: the purchaser–supplier relationship. The few extant studies of the concept in the purchaser–supplier domain have overlooked an important aspect of this key relationship: that is, inclusiveness in procurement. This is despite the fact that interest in the specific empirical context of supply chain links between large purchasing organizations (LPOs) and ethnic minority suppliers (EMSs) from disadvantaged communities proceeds apace on both sides of the Atlantic. Institutional theory is used to examine the form that procedural justice takes in eight case studies of LPOs from the private and public sectors, which actively engage with inclusive procurement management initiatives in England. The guiding question is twofold: ‘What may LPO approaches to installing procedural justice in procurement management entail?’ and ‘How are these approaches shaped?’ This paper identifies specific approaches to installing procedural justice for inclusive procurement and submits theoretical propositions about how these are shaped. The study contributes to a macro-level assessment of procedural justice, i.e. interorganizational procedural justice, as a significant aspect of inclusive interorganizational relationships, which is a domain in need of theoretical development.

Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).

Revealing the whiteboard to blind students: An inclusive approach to provide mediation in synchronous e-learning activities

Promoting the inclusion of students with disabilities in e-learning systems has brought many challenges for researchers and educators. The use of synchronous communication tools such as interactive whiteboards has been regarded as an obstacle for inclusive education. In this paper, we present the proposal of an inclusive approach to provide blind students with the possibility to participate in live learning sessions with whiteboard software. The approach is based on the provision of accessible textual descriptions by a live mediator. With the accessible descriptions, students are able to navigate through the elements and explore the content of the class using screen readers. The method used for this study consisted of the implementation of a software prototype within a virtual learning environment and a case study with the participation of a blind student in a live distance class. The results from the case study have shown that this approach can be very effective, and may be a starting point to provide blind students with resources they had previously been deprived from. The proof of concept implemented has shown that many further possibilities may be explored to enhance the interaction of blind users with educational content in whiteboards, and further pedagogical approaches can be investigated from this proposal. (C) 2009 Elsevier Ltd. All rights reserved.

Antihyperon polarization in high-energy inclusive processes

We propose a model for the antihyperon polarization in high-energy proton-nucleus inclusive reactions, based on the final-state interactions between the antihyperons and other produced particles (predominantly pions). To formulate this idea, we use the previously obtained low-energy pion-(anti-)hyperon interaction using effective chiral Lagrangians, and a hydrodynamic parametrization of the background matter, which expands and decouples at a certain freezeout temperature.

Implications of innovation for inclusive growth: a study of Medellín, Colombia's metro system and integral urban projects

Medellín, Colombia continues to attract global recognition for its evolution from a crimesaturated and desegregated city to an award-winning paragon of innovation. Two innovations in particular, the Metro System & the Integral Urban Projects, have fostered and contributed to Medellín’s inclusive growth, as indicated by a corresponding increase in both social and economic capital. Through a mixed methodology analysis of these two experiences, including participant observation, in-depth interviews with different industry leaders, and household surveys, this thesis explores the extent to which inclusive innovation has contributed to inclusive growth in Medellín. The surveys were distributed to three sensitive neighborhoods of Medellín and apply a Synthesized Framework for measuring inclusive growth, one that includes five indicators for social capital and five indicators for economic capital, emphasizing the importance of progression in both dimensions. By drawing on concepts of inclusivity surfacing more frequently in business lexicon and the emergence of a newly branded Medellín, the findings of this thesis indicates that the implementation of innovations in association with a unified city vision practiced by the local government, corporate and non-profit sector has contributed to achieving inclusive growth, and has left civilians hungry for more.

Break: o grito corporal da periferia

In order to question a sociology as it considers appropriate the body dimensions, which contributes in a mean singular in relation to body, not only as a matter, but mainly as a producer of knowledge, our research shows a reflection on corporality as the production of knowledge and to understand different perspectives and social logic here in contemporaneity, whose rationality seems to be placed in question through a performance expressed, a lot of 'breaks', including the space, which the dancer break appropriates of a reversed form and not more than linear. Our problem is the possibility of a greater understanding of this young body with dance the break, is not only 'breaking' his body, but fluent in their own body fragments, producing probably a break in relation to a dominant power established, by creating a kind of 'social resistance' to provide another sense for his life, out of the senses by the dominant of a social field. This is the area of production of knowledge, of the 'body' that cries keep our eyes, the challenge of dive in the depth of gestures, beyond the physical structure, restoring in a strong political constitution and cultural in so far as this body faces. The body as spectacular becomes 'cause and effect' of communication, this body is not only individual, it is not expression only for itself; when the young dance outside their walls individuals, makes it relational, turning to relate with the other, with the space, time and the world. The methodological point of view, to study this corporality in element break, the body as language of senses, we considered withdrawals in the field, observations of movements of the universe of break creative dance, performance and analysis of "attitudes" (expression peculiar world hip hop ), as well as my experience with dancing in the street interventions through 'urban' and our own attitudes to the object of research which challenges us academically and, it all, existentially

Hemograma e perfil bioquímico sérico, inclusive hemogasométrico, de bezerros infectados experimentalmente com Salmonella Dublin

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Professores de Street Dance do Estado de São Paulo: formação e saberes

This research of qualitative nature, aimed to analyze the formation and knowledges of the teachers of Street Dance from the State of São Paulo. Reviewing the literarature it was approached the conceptions of culture, "Hip Hop Culture", and Street Dance. Also, some studies referred to the professional formation in dance and Physical Education; acting in dance by the teacher of Physical Education; and professional academic formation and/or experimental. The approaching method was the story of the time at present. The technique: interview semi-structured. According to the analysis of the statements: a) we noticed that no one of the interviewers show academic formation in dance; a small part is graduated in Physical Education, and the majority act as authorized teachers by the CREF and/ or DRT; b) we verified that the teaching of Street Dance is determined by experimental knowledges. The Street Dance shows itself as a process of constitution, and the formation and the knowledges to its teaching did not show systematization.