The influence of teachers’ expectations

As teachers and educators understand, just because you want a student to learn something or perform well doesn’t mean that they always will! Often we focus on what the student is doing or not doing correctly – “Why can’t they just…?”. However, if we only focus on reasons that are external to us, we may miss important opportunities to reflect on how our own behaviour might influence our students’ performance.

Preventing eating disorders

THE first thing to remember is that eating disorders* are seldom “caused” by one sole factor. Eating disorders arise as the result of many factors, many of which medical science has not yet identified or understood. Moreover, young people are influenced by numerous forces beside the dance class – such as family, school, society, the media – over which a dance teacher has no control.

Residual stresses in rail-ends from the in-service insulated rail joints using neutron diffraction

Insulated rail joints (IRJs) are an integral part of the rail track signaling system and pose significant maintenance and replacement costs due to their low and fluctuating service lives. Failure occurs mainly in rail head region, bolt- holes of fishplates and web-holes of the rails. Propagation of cracks is influenced by the evolution of internal residual stresses in rails during rail manufacturing (hot-rolling, roller-straightening, and head-hardening process), and during service, particularly in heavy rail haul freight systems where loads are high. In this investigation, rail head accumulated residual stresses were analysed using neutron diffraction at the Australian Nuclear Science and Technology Organisation (ANSTO). Two ex-service two head-hardened rail joints damaged under different loading were examined and results were compared with those obtained from an unused rail joint reference sample in order to differentiate the stresses developed during rail manufacturing and stresses accumulated during rail service. Neutron diffraction analyses were carried out on the samples in longitudinal, transverse and vertical directions, and on 5mm thick sliceed samples cut by Electric Discharge Machining (EDM). For the rail joints from the service line, irrespective of loading conditions and in-service times, results revealed similar depth profiles of stress distribution. Evolution of residual stress fields in rails due to service was also accompanied by evidence of larger material flow based on reflected light and scanning electron microscopy studies. Stress evolution in the vicinity of rail ends was characterised by a compressive layer, approximately 5 mm deep, and a tension zone located approximately 5- 15mm below the surfaces. A significant variation of d0 with depth near the top surface was detected and was attributed to decarburization in the top layer induced by cold work. Stress distributions observed in longitudinal slices of the two different deformed rail samples were found to be similar. For the undeformed rail, the stress distributions obtained could be attributed to variations associated with thermo-mechanical history of the rail.

ÉLET [LIFE]

Élet [pronounced air-let] is the Hungarian word for Life. The work is informed by the lyrics of six songs performed by French cover band Nouvelle Vague. Whilst Élet [Life] is created to be absorbed and interpreted openly by each individual, at the core of the choreography lies a desire to move forwards, to communicate – to be seen and heard. The work embraces aspects such as loneliness, joy and tension that we experience in our lives and relationships. As the movement opens out from these ideas, the physical shapes of our personal moments are infused with the elements of sound, colour and rhythm. A rich translation of personal movements through life.

Momentan

Momentan was envisaged and constructed as an abstract dance work investigating: • The body in the moment • The body in movement • The body as Solo performer • The body and its connectivity with others

Exposition

During the course of study in semester 1, the first year BFA Dance (Performance) students were exposed to various dance genres (in terms of technical training) and associated practices. They were required to gain physical fitness and increase technical accomplishment, strength, flexibility and stylistic versatility through their training. The students also experienced dancing as soloists, with partners and in larger group scenarios. Exposition presents these elements experienced, through a pure dance work. Movement vocabulary was formed employing several methods: specifically choreographed for the individual student; through task-based instruction, which the students constructed; and from learning pre-existing material. Thom Willems dramatic and layered musical score informed the construction of new movement vocabulary; the development of pre-existing material; and the structure of the work.

Fault detection of slow speed rolling element bearing with noise removal techniques

Rolling Element Bearings (REBs) are vital components in rotating machineries for providing rotating motion. In slow speed rotating machines, bearings are normally subjected to heavy static loads and a catastrophic failure can cause enormous disruption to production and human safety. Due to its low operating speed the impact energy generated by the rotating elements on the defective components is not sufficient to produce a detectable vibration response. This is further aggravated by the inability of general measuring instruments to detect and process the weak signals at the initiation of the defect accurately. Furthermore, the weak signals are often corrupted by background noise. This is a serious problem faced by maintenance engineers today and the inability to detect an incipient failure of the machine can significantly increases the risk of functional failure and costly downtime. This paper presents the application of noise removal techniques for enhancing the detection capability for slow speed REB condition monitoring. Blind deconvolution (BD) and adaptive line enhancer (ALE) are compared to evaluate their performance in enhancing the source signal with consequential removal of background noise. In the experimental study, incipient defects were seeded on a number of roller bearings and the signals were acquired using acoustic emission (AE) sensor. Kurtosis and modified peak ratio (mPR) were used to determine the detectability of signal corrupted by noise.

Physical activities and sedentary pursuits in African American and Caucasian girls

The purposes of this study were to describe and compare the specific physical activity choices and sedentary pursuits of African American and Caucasian American girls. Participants were 1,124 African American and 1,068 Caucasian American eighth grade students from 31 middle schools. The 3-Day Physical Activity Recall (3DPAR) was used to measure participation in physical activities and sedentary pursuits. The most frequently reported physical activities were walking, basketball, jogging or running, bicycling, and social dancing. Differences between groups were found in 11 physical activities and 3 sedentary pursuits. Participation rates were higher in African American girls (p<.001)for social dancing, basketball, watching television, and church attendance but lower in calisthenics, ballet and other dance, jogging or running, rollerblading, soccer, softball or baseball, using an exercise machine, swimming, and homework. Cultural differences of groups should be considered when planning interventions to promote physical activity.

Accelerometer based performance assessment of basic routines in classical ballet

Classical ballet requires dancers to exercise significant muscle control and strength both while stationary and when moving. Following the Royal Academy of Dance (RAD) syllabus, 8 male and 27 female dancers (aged 20.2 + 1.9 yr) in a fulltime university undergraduate dance training program were asked to stand in first position for 10 seconds and then perform 10 repeats of a demi-plié exercise to a counted rhythm. Accelerometer records from the wrist, sacrum, knee and ankle were compared with the numerical scores from a professional dance instructor. The sacrum mounted sensor detected lateral tilts of the torso in dances with lower scores (Spearman’s rank correlation coefficient r = -0.64, p < 0.005). The RMS acceleration amplitude of wrist mounted sensor was linearly correlated to the movement scores (Spearman’s rank correlation coefficient r = 0.63, p < 0.005). The application of sacrum and wrist mounted sensors for biofeedback during dance training is a realistic, low cost option.

Macrophonics II

Macrophonics II presents new Australian work emerging from the leading edge of performance interface research. The program addresses the emerging dialogue between traditional media and emerging digital media, as well as dialogues across a broad range of musical traditions. Recent technological developments are causing a complete reevaluation of the relationships between media and genres in art, and Macrophonics II presents a cross-section of responses to this situation. Works in the program foreground an approach to performance that integrates sensors with novel performance control devices, and/or examine how machines can be made musical in performance. The program presents works by Australian artists Donna Hewitt, Julian Knowles and Wade Marynowsky, with choreography by Avril Huddy and dance performance by Lizzie and Zaimon Vilmanis. From sensor-based microphones and guitars, through performance a/v, to post-rock dronescapes, movement inspired works and experimental electronica, Macrophonics II provides a broad and engaging survey of new performance approaches in mediatised environments. Initial R&D for the work was supported by a range of institutions internationally, including the Australia Council for the Arts, Arts Queensland, STEIM (Holland) and the Nes Artist Residency (Iceland).

Suedehead

An original work by New York-based choreographer Jodi Melnick performed in the Irish Museum of Modern Art. A dance for four. Four individual solos, often seen intersecting, interrupting, invading one another. Coming and going. How to be coming and going at the same time. Starting with a working process with an openness to the performers and their beautiful, sometimes jarring, one step at a time, bird by bird. It has to be like that. A devised choreography that incorporates the creative input of the cast of dancers to produce an original work.

Solo3

Solo3 is and evening of solo works collaboratively created by Jenny Roche and choreographers John Jasperse (US), Jodi Melnick (US) and Liz Roche (Ireland). It was commissioned by the Dublin Dance Festival 2008 for the culmination of Jenny Roche's residency as an artist with the festival. The three works address the role of the dancer as co-creator within choreographic practice and further examine how the dancer can inhabit multiple embodiments across various choreographies leading to a plurality of selfhood in line with post-modern and poststructuralist notions of subjectivity (Deleuze and Guattari 1987). Furthermore, the oscillation of real and imagined subjectivities in performance (Emilyn Claid 2006) and the interplay of intercorporeal and intersubjective relations between choreographer and dancer (Sally Gardner 2007) are highlighted in these works.

Altered copy

In 2008, Jenny Roche commissioned Jodi Melnick to make the solo Business of the Bloom on her. Four years later, Roche re-enters this piece and draws on their many years of working together to inhabits its ideas and impulses from a new perspective. In this new 'altered copy', Roche refers to this previous work; embellishing, redirecting and abstracting moments. By reinterpreting both her earlier self and footage of Melnick dancing a reworked version of the solo in performance, Roche connects with the polyvalent nature of both interpretation and memory. This reworked version outlines the relationship that dancers have to movement traces that circulate after a dancing event. Suzanne Ravn (2009) found that dancers experienced the reapperance of movement traces from previous works when moving. Martin Nachbar (2012) writing from his first-person perspective as a dancer, describes the dancer who discerns between the past of movement that is remembered and the current moment of its performance. He outlines how past and present movement experiences cohabitate in the embodied present. Timmy de Laet (2012) identifies the emerging trait of re-enactment in contemporary dance, in which contemporary artists such as Nachbar dialogue with past choreographies to comment on the various mnemonic dimensions of dance. De Laet (2012) explains that the function of these works are not to preserve the past choreographies as might be achieved through reconstruction but to contemplate creatively issues of ephemerality and preservation of dance. Altered copy addresses this dialogue between the past and present body.

Boundary swaying

This practice-led research is positioned within my ongoing enquiry into the dancer’s experience and role within the creative process. Gins and Arakawa (1997) and Keane (2007) speak to the unsatisfactory reliance on discipline boundaries, to describe the dynamic lived-experience of interaction. This theorising is of application to this project, which examines creative agency through the lens of Arakawa and Gins’ language prompt, boundary-swaying. In this project the boundaries of movement creator, performer and director overlap and blur through the use of improvisation and multiple cameras. All contributors are invested creatively and compositionally in the ensuing dynamic collaboration, wearing many hats, ‘conceiver, creative thinker, teacher and learner’ (McKechnie 2005, 93; Stevens & McKechnie 2005, 250). This project asked the question, how can the work of Arakawa and Gins to agitate, disrupt, and transform the modus operandi of creative practice between choreographer and practice, dancer and practice and choreographer and dancer? The use of Arakawa and Gins’ philosophy and language prompts within this project stimulated and positively influenced the established creative relationship of researcher and choreographer/artist in the following ways: • Foregrounded the dancers tacit knowledge, first-hand experience, know-how and embodied savviness; • Promoted artistic collaboration, illuminating new creative possibilities, choices and innovation; • Facilitated the distribution of creative authority and agency. This creative work was presented as part of the AG3 ONLINE: the Third International Arakawa and Gins - Architecture and Philosophy Conference. The work was vetted for inclusion by an international panel of examiners.