Coupling digital and physical worlds in an AR magic show performance: lessons learned

“Magic for a Pixeloscope” is a one hour show conceived to berepresented in a theater scenario that merges mixed and augmented reality (MR/AR) and full-body interaction with classical magic to create new tricks. The show was conceived by an interdisciplinary team composed by a magician, twointeraction designers, a theater director and a stage designer. Themagician uses custom based hardware and software to createnew illusions which are a starting point to explore new languagefor magical expression. In this paper we introduce a conceptualframework used to inform the design of different tricks; weexplore the design and production of some tricks included in theshow and we describe the feedback received on the world premiere and some of the conclusions obtained.

Matka serkamolaiseen teatteriin : kohti sanatonta kerrontaa

A travelogue to serkamoan theater deals, just like its name implies, with the molding process of one theater opinion. It has been influenced by both Aristotle's poetry and Bertold Brecht's epic theater. Side by side with theater goes dance, whose development the thesis also considers briefly. Of today's theater makers, Päivi Ketonen (playback theater), Juha Hurme and Nigel Charnock (dance theater) have had a definitive impact on the Serkamoan theater view. Their relation to theater and dance is clarified in the interviews conducted by the writer, which can be found in their entirety among the appendices of this thesis. Serkamoan theater has also been influenced by the writer's studies in Portuguese theater school in 2004. In Portugal the writer had a chance to work a theater piece in a new cultural environment where, for example, a novel and paintings were used as inspiration. The strongest legacy from Portugal however was the desire to do theater that can be understood without words. Serkamoan theater considers the combinations of theater and dance in performing arts, agreeing with, among others, Pina Bausch's footsteps. Serkamoan theater ladles its inspiration from theater, dance, human being, human body and movement. It is theater that cannot be understood through intellect but through the heart.

Sanoin kuvaamaton : teatterintekijän pohdintoja intuitiosta

This thesis examines the concept of intuition from different aspects. The basis for this thesis has been the author`s experience about education as a supportive process for intuitive thinking. It studies what taking advantage of intuition means for the author of this thesis and how intuition can be defined as a concept. This thesis shows what intuition means both from the performer`s and the director`s point of view. The author attemps to explain how these two areas of her professional identity either support or prevent intuitive creativity from emerging successfully. The intuition of a performer is examined through playback theatre and the insight associated with playback theatre. Regarding the work of a director, the author describes the making of a walking tour performance called "Sama maa" (2006) that she directed. The author attempted to fully utelize her intuitive creativity while planning the performance. The intuitive choices of the author were the basis for planning and carrying out the performance. This thesis studies a concept that is very challenging to explain in words. There is not a lot of literature about concept of intuition with respect to theater. The author of the thesis has ended up thinging about guestion that is very important to her, a guestion about relationship between controlled and authentic mental processing. The author also engourages others to think about the meaning of intuition and insight to themselves as a part of a daily life and as a part of the artistic creativity.

Kaksoiselämäni teatteritaiteen palveluksessa : ammatti-identiteettini rakennuselementit

In my thesis I discuss the elements of my professional identity from the perspective of an actor, a director and a team. What are acting and directing to me? What are the problems in the symbiosis of acting and directing? What are the difficulties in acting and directing and how important are the issues related to responsibility, power, trust and confidence in my work? I also discuss the consept of self-confidence. Behind all of this, there is also the thought of my ancestry and its dualism, how my roots from my father's and mother's side are struggling against each other or supporting each other, and how they affect my professional identity. The basic idea in the present thesis is the perspective of the traditional theatre and a professional team. Also the childhood influence on my professional identity is being considered. Education is discussed at the end. Moreover, a discussion on the kind of future theatre maker I want to be considered as, is included. I also try to handle all these topics through Harri Virtanen's Kiinteistövälittäjä vastoin tahtoaan (2005), which I directed, and my latest role in Arto Paasilinna's and Kristian Smeds' Jäniksen vuosi (2006). The conclusion of the present thesis is that it is very important for me to be a member of different communities, in which I can express my professional identity. My professional identity is formed by many elements that support each other. Such elements in their own right form an inticate relationship, which at the end, makes me what I am. In conclusion, I am a theatre maker, who in an alternative field of theater has opportunities to form the professional identity, as different situations and projects require.

China´s Economic Security Police Towards ASEAN From

After the economic reforms of 1978, China started rising very fast and started engaging other countries in the region which has served to increase its confidence in the region. In the post cold war period, China was seen as a big threat for the region because of its claims on the South China Sea. Nevertheless, this image was eliminated when China engaged ASEAN and other multilateral and regional organizations. This paper is studying China’s economic and security policies towards ASEAN. Globalization Theory is the theory being used to explain the nature of China-ASEAN relations. This research paper argues that China’s rise is promoting peace in the region. With the engagement policy, China started promoting trade and security co operations based on mutual benefits and dialogues for the peaceful resolutions of the disputes in the region. This contributed greatly to improve China’s image in the region. Additionally, China’s posture during the economic crises of 1997 also greatly contributed to improve its image. Thus, the rise of China is providing opportunity to the other countries in East Asia. Chapter One: Background On China-ASEAN Relations The use of Soft Power and engagement policy by the Chinese government has helped to change China’s image in the region. By using these policies China has been able to clear the feeling of suspicion and mistrust among the Asian states. China has increased its participation in multilateral and regional organizations, such as ASEAN. Due to this China has been able to promote economic and security co-operation among countries in the region. Thus, from being a potential threat China became a potential co-operative partner. Chapter Two: A Look into ASEAN ASEAN was originally formed on 8th August 1967 in Bangkok, Thailand, by Indonesia, Malaysia, the Philippines, Singapore and Thailand. Nevertheless, ASEAN was not the first regional group created to act as forum for dialogue between the leaders of different countries. Thought, it is the only one which could work in the region. The aim of the foundation of ASEAN was to promote peace and stability in the Abstract 2 region and also contain the spread of communism in Southeast Asia. For this reason, China did not engage ASEAN until 1990. However, in 1978 with the establishment of the open up policy China started engaging other countries. It started building trust among its neighboring countries by using soft power. By 1992, China formalized its diplomatic ties with ASEAN as a group. The diplomatic ties between China and ASEAN focus on multilateralism and co-operation as the best way for a more peaceful Asia and the search for common security. Thus, security in the region is promoted through economic co-operation among the states. Therefore the relation between China – ASEAN emphasizes the five principles of peaceful coexistence, mutual benefits in economic co-operation, dialogue promoting trust and the peaceful settlement of disputes. Chapter Three: China-ASEAN Economic Relations Since 1978 The economic reform of 1978 has greatly contributed to the economic development of China. After the adoption of the open up policy, China has been able to establish economic and trade relations with the outside world. The realist school of thought had predicted that Asia will not be stable in the post cold war period. Nevertheless, this has not been the case in Asia. China is growing peacefully with the co-operation of countries in the region. China is establishing strong ties with its neighboring countries. China and ASEAN relations focus on mutual benefit instead of being a zero sum game. Thus these relations are aimed at encouraging trust and economic co-operation in the region. China and ASEAN have agreed on Free Trade to assure that the two parties benefit from the co-operation. The ACFTA will have a great impact on economic, political and security issues. This will enable China to increase its influence in Asia and counterbalance the influences that Japan and U.S have in the region. Chapter Four: China ASEAN Relations in the Security Perspective This Chapter is about China and ASEAN relations on security issue. The new security issues of the post cold war period need to be solved in multilateral way. China as a major power in the region, through its engagement policy has solved most Abstract 3 of the disputes in the region using multilateral means. China has also found ways to solve the dispute over Spratly Islands peacefully, through dialogue using ASEAN. Additionally, China signed the Treaty of Amity in 2003, promoted security initiatives through ARF, Declaration on Conduct of Parties in the South China Sea and documents covering non-traditional security threats, economic co-operation and agricultural co-operation in November 2002, and the Joint Declaration on Strategic. Chapter Five: Finding and Analysis This chapter provides a quantitative and qualitative analysis of the date collected throughout this research. It provides an analysis of how the rise of China is promoting peace in the region. China has been promoting mutual beneficial trade and security co-operation which has increased its influence in the region. China has also been able to solve most of the territorial and border dispute in the region through ASEAN. Thus, ASEAN has amended China’s relations with other countries in the region. Therefore, China’s foreign policy in the region has a big impact in shaping the dynamic relations in East Asia. Conclusion and Recommendations This paper concluded that the relationships between China and ASEAN are contributing to peace in the region. After China engaged ASEAN, it has been able to promote multilateral trade based on mutual benefit. This is clearly emphasized by the CAFTA. Additionally, China has solved most of the dispute in the region. It has also found way for a peaceful resolution of the dispute over Spratly Island. Nowadays, the ASEAN countries don’t see China as a threat to the region. Nevertheless, they’ve adopted deterrence measures such as establishing diplomatic relations with other big powers in the region to assure that the region continues to grow peacefully. Concerning this deterrence measures, I recommend as another way for a continued peaceful growth, the resolution of the outstanding dispute.

Gene-Age Interactions in Blood Pressure Regulation: A Large-Scale Investigation with the CHARGE, Global BPgen, and ICBP Consortia.

Although age-dependent effects on blood pressure (BP) have been reported, they have not been systematically investigated in large-scale genome-wide association studies (GWASs). We leveraged the infrastructure of three well-established consortia (CHARGE, GBPgen, and ICBP) and a nonstandard approach (age stratification and metaregression) to conduct a genome-wide search of common variants with age-dependent effects on systolic (SBP), diastolic (DBP), mean arterial (MAP), and pulse (PP) pressure. In a two-staged design using 99,241 individuals of European ancestry, we identified 20 genome-wide significant (p ≤ 5 × 10(-8)) loci by using joint tests of the SNP main effect and SNP-age interaction. Nine of the significant loci demonstrated nominal evidence of age-dependent effects on BP by tests of the interactions alone. Index SNPs in the EHBP1L1 (DBP and MAP), CASZ1 (SBP and MAP), and GOSR2 (PP) loci exhibited the largest age interactions, with opposite directions of effect in the young versus the old. The changes in the genetic effects over time were small but nonnegligible (up to 1.58 mm Hg over 60 years). The EHBP1L1 locus was discovered through gene-age interactions only in whites but had DBP main effects replicated (p = 8.3 × 10(-4)) in 8,682 Asians from Singapore, indicating potential interethnic heterogeneity. A secondary analysis revealed 22 loci with evidence of age-specific effects (e.g., only in 20 to 29-year-olds). Age can be used to select samples with larger genetic effect sizes and more homogenous phenotypes, which may increase statistical power. Age-dependent effects identified through novel statistical approaches can provide insight into the biology and temporal regulation underlying BP associations.

Estudiar el ocio a través de ejercicios teatrales. Una aproximación al tiempo libre

El tema del ocio, estudiado desde la perspectiva de la psicosociología del tiempo libre (Munné, 1980), establece la necesidad de estimular el comportamiento autocondicionado y las habilidades para superar los heterocondicionamientos deeste tiempo social (Casas y Codina, 1998). Esto sugiere la búsqueda de herramientas metodológicas que permitan el desarrollo de la persona a través del autoconocimiento, proceso éste en el que la noción de sí mismo (self) adquiere unpapel preponderante.Si, dentro del ocio, se considera el aspecto contrafuncional de lo creativo (Munné, ibídem), como un elemento que permite transitar del tiempo liberador al tiempo liberado (Munné y Codina, 1996), podrían utilizarse los ejercicios teatrales paraindagar los procesos que conducen al tiempo libre. En psicología social, el uso de estas herramientas ha estado considerado, fundamentalmente, dentro de las perspectivas del psicodrama iniciado por Moreno, ciertos enfoques de lasdenominadas teorías del rol, y más recientemente como una expresión del denominado ocio serio (Stebbins, 1992).En esta comunicación se analizan las ventajas y desventajas de cada una de estas tres perspectivas, y se sugiere cómo podrían aplicarse los ejercicios teatrales en los estudios de ocio; a esto último se añade la consideración de nuevas epistemologías como las teorías de la complejidad en lo que respecta al tiempo libre y al sí mismo (Munné, 1997; Codina, 1998, 1999a, 1999b), derivándose de todo esto una posible alternativa en la intervención psicosocial desde los estudios de ocio.

Niin metsä vastaa : työtapoja koreografian ja tanssiteatterin tekemiseen

Käsittelen työssäni sitä, miten tanssitaustaisena teatteri-ilmaisun ohjaajana toimin koreografina ja tanssiteatterin tekijänä. Pyrin kartoittamaan taiteellisen työni, tanssiteatteriteoksen Niin metsä vastaa, valossa minkälaisen synteesin nuoruusvuosien laajat tanssiopintoni ja nyt päättyvät esittävän taiteen opintoni ovat muodostaneet. Pohdin paikkaani nykyisellä ammattitanssin kentällä verraten omia työtapojani ja ajatuksiani muutamaan nykykoreografiin sekä kahteen tanssin väitöskirjaan. Lähestyn työssä tanssiteatterin tekemistä tanssin ja liikkeen suunnasta, koska se on omin ja vahvin taitoalueeni. Oman teokseni syntyprosessia ja lopputulosta tarkastelemalla olen hahmottanut viisi löytämääni työtapaa tanssiteatterin tekemiseen. Selkeästi koreografian tekemiseen rajautuva väline on oman liikkeen hakeminen. Oman tarinan etsiminen liittyy vastaavasti teoksen käsikirjoituksen ja dramaturgian rakentumiseen. En tiedä -asenne, yhteistyö ja tiladramaturginen ajattelu ovat laajempia, yleisesti näyttämöteoksen tekemiseen liittyviä työtapoja. Useat näistä työtavoista ovat saaneet kimmokkeensa esittävän taiteen opinnoistani Stadiassa. Käyttämieni työtapojen kautta olen oppinut paljon itsestäni niin yksityisenä ihmisenä kuin taiteilijanakin. Toivon voivani jatkaa löytämieni työtapojen ja oman maailmani tutkimista ja syventämistä tulevissa töissäni. Näen itseni tasavertaisena, omanlaisenani taiteilijana muiden tanssin ammattilaisten joukossa. Koen vahvuuksinani monipuoliset työkalut tanssin ja teatterin yhdistämiseen sekä kyvyn ja halun hahmottaa asioita monista näkökulmista. Tanssiteatterin tekijänä totean työskentelyni määrittyvän ja etenevän pitkälti teoksen mukaan eli kovin kiinteitä rakenteita en voi työtavoissani sanoa vielä olevan, enkä sitä toivokaan. Rajattomuus on tanssiteatterini voima.

El Pigmalión de Shaw, manifiesto teatral de la lingüística

La comedia Pigmalión, que Bernard Shaw escribió en 1912 y estrenó al año siguiente, es una proclamación artística de la lingüística. A pesar de la popularidad de la obra, es un acontecimiento que se conoce como una anécdota extravagante. El extraordinario mérito de Pigmalión ha pasado desapercibido para la historia de la lingüística. Su mérito estriba en la calidad teatral, la capacidad prospectiva de Shaw y la intención social de su mensaje. Shaw anuncia la utilidad de la lingüística en facetas que, décadas después, se conocerán como sociolingüística, planificación lingüística y logopedia. Por otra parte, se ha relacionado de modo simplista el personaje del profesor Higgins al fonetista H. Sweet. The play Pygmalion, that Bernard Shaw wrote in 1912 and released the following year, is an artistic proclamation of Linguistics. Despite the popularity of the play, this event is known as an extravagant story. The History of Linguistics does not recognize the extraordinary merit of Pygmalion. Its merit lays in the theatrical quality ant the social intention of the message. Shaw announces the usefulness of Linguistics in facets that will be known as Sociolinguistics, Language Planning and Speech Therapy. And furthermore, in a simplistic way, the character of Professor Higgins has been linked to the phonetician H. Sweet.

"Ruddigore o la nissaga maleïda", un prodigi d'Egos Teatre

Treball que prova d'esbrinar el perquè de l'èxit del primer muntatge teatral d'una companyia novell catalana que repren una obra de Gilbert & Sullivan i la transforma a la seva manera.

Holism and structural realism

We first introduce structural realism as a position in the metaphysics of science, pointing out the way in which this position replaces intrinsic properties with relations so that it amounts to a holistic in contrast to an atomistic metaphysics. We argue in favour of a moderate version of structural realism that puts objects and relations on the same ontological footing and assess the general philosophical arguments for this position. The second section shows how structural realism gains support from quantum physics. The third section explains how structural realism can be applied to the metaphysics of space-time.