Hasil untuk "The performing arts. Show business"

Dejan Grba

In this paper, I take the cultural effects of generative artificial intelligence (generative AI) as a context for examining a broader perspective of AI's impact on contemporary art notions. After the introductory overview of generative AI, I summarize the distinct but often confused aspects of art notions and review the principal lines in which AI influences them: the strategic normalization of AI through art, the representation of AI art in the artworld, academia, and AI research, and the mutual permeability of art and kitsch in the digital culture. I connect these notional factors with the conceptual and ideological substrate of the computer science and AI industry, which blends the machinic agency fetishism, the equalization of computers and humans, the sociotechnical blindness, and cyberlibertarianism. The overtones of alienation, sociopathy, and misanthropy in the disparate but somehow coalescing philosophical premises, technical ideas, and political views in this substrate remain underexposed in AI studies so, in the closing discussion, I outline their manifestations in generative AI and introduce several viewpoints for a further critique of AI's cultural zeitgeist. They add a touch of skepticism to pondering how technological trends change our understanding of art and in which directions they stir its social, economic, and political roles.

Dulcinea Segura

Esta publicación sobre la danza experimental en Puerto Rico es un material enriquecedor para la historia de la danza de toda Latinoamérica. De una danza que “cuestiona, que expande significados y busca nuevas maneras de expresarse”, como afirman las editoras en el libro. Su investigación recorre las experiencias que tuvieron lugar a partir de la década de 1970, entre otras cosas, con la fundación del grupo Pisotón, producto de aquella pregunta que surgió respecto a “cómo articular formas nuevas de relacionarse con la realidad histórica de su momento”, y que continuaron su proliferación y desarrollo en las décadas posteriores.

Tsvetomira Ivanova Kazashka, Veneta Tabakova-Komsalova

This paper presents an ontology describing Bulgarian dance folklore as part of Bulgaria's cultural and historical heritage. The study focuses on a specific dance piece – "Horo in Sofia", choreographed by Kiril Djenev. The ontology is developed in accordance with the CCO (Cataloging Cultural Objects) standard, which provides guidelines for data content standards. The created ontological structure serves as a knowledge base intended for use by intelligent agents. The application of standards significantly facilitates data dissemination, with CCO providing clear and precise definitions of the attributes an object should possess. The ontologies, developed in Protégé, are designed to meet the requirements of this standard. Five key characteristics were used to represent the dance: ethnographic area, artistic-social function, participant composition, number of participants, and musical accompaniment. Semantic modeling utilizes RDF, and the additional application of RDFS and OWL provides a powerful toolkit for modeling and creating ontologies. This work lays the foundation for the digital transformation of Bulgarian dance heritage and provides a valuable resource for researchers, teachers, and students. The development is part of a broader project focused on the digitization of cultural and historical heritage.

Felix Möhrlein, Martin Käppel, Julian Neuberger et al.

Sensitive attributes like gender or age can lead to unfair predictions in machine learning tasks such as predictive business process monitoring, particularly when used without considering context. We present FairLoop1, a tool for human-guided bias mitigation in neural network-based prediction models. FairLoop distills decision trees from neural networks, allowing users to inspect and modify unfair decision logic, which is then used to fine-tune the original model towards fairer predictions. Compared to other approaches to fairness, FairLoop enables context-aware bias removal through human involvement, addressing the influence of sensitive attributes selectively rather than excluding them uniformly.

Euclid Collaboration R. Hill, A. Abghari, D. Scott et al.

The first Euclid Quick Data Release (Q1) contains millions of galaxies with excellent optical and near-infrared (IR) coverage. To complement this dataset, we investigate the average far-IR properties of Euclid-selected main sequence (MS) galaxies using existing ̋erschel and SCUBA-2 data. We used 17.6,deg2$ (2.4,deg$^2) of overlapping ̋erschel (SCUBA-2) data, containing 2.6 million (240,000) MS galaxies. We binned the Euclid catalogue by stellar mass and photometric redshift and performed a stacking analysis following SimStack , which accounts for galaxy clustering and bin-to-bin correlations. We detected stacked far-IR flux densities across a significant fraction of the bins. We fitted modified blackbody spectral energy distributions in each bin and derived mean dust temperatures (T_̊m d), dust masses (M_̊m d), and star-formation rates (SFRs). We find similar mean SFRs compared to the Euclid catalogue, and we show that the average dust-to-stellar mass ratios decreased from z,≃,1 to the present day. Average dust temperatures are largely independent of stellar mass and are well-described by the function T_2, + ,(T_1, - ,T_2), ̊m e ^ -t/τ , where t is the age of the Universe, T_1, = ,(79.7 ,(23.2 ,(1.6 ,1, the dust is now primarily heated by the existing cooler and older stellar population, as opposed to hot young stars in star-forming regions at higher redshifts. We show that since the dust temperatures are independent of stellar mass, the correlation between dust temperature and SFR depends on stellar mass. Lastly, we estimate the contribution of the Euclid catalogue to the cosmic IR background (CIB), finding that it accounts for $ ,60%$ of the CIB at 250, 350, and 500,μm. As the Euclid mission progresses, larger catalogues will allow us to probe the far-IR properties of MS galaxies out to higher redshifts and lower stellar masses, potentially recovering the complete CIB. T_2, = and τ, = We argue that since the dust temperatures converge to a non-zero value below z, = >

Joanna Szymajda

Wstęp Joanny Szymajdy do bloku tekstów Prawo (do) tańca.

Annya Atanasio Cadena

El presente artículo se centra en la problemática receptiva actual frente a las creaciones de carácter posdramático en medio de una sociedad en la cual los sistemas de atención y formulación simbólica se ven alterados debido a los cambios actuales en los sistemas comunicativos tecnodigitales. Asimismo, se profundiza sobre la re-construcción sígnica desde el replanteamiento y la crítica al Teatro Posdramático de Lehmann por la investigadora belga Catherine Bouko, quien construye un sistema discriminatorio sobre las formas posdramáticas desde cinco criterios; uno de ellos, los signos esfinge. Dado lo anterior, es fundamental el empleo de un marco teórico transdisciplinar, en el cual confluyen la sociología, la filosofía, la teatrología y las neurociencias para dar respuesta a la pregunta central de este artículo: ¿de qué manera los espectadores construyen una nueva relación espectatorial frente a obras posdramáticas a través de los signos esfinge y cuáles son las implicaciones de dicha relación frente a la sociedad actual? Lo anterior ayudaría a esclarecer a los nuevos espectadores que han mutado su retención perceptiva y han creado sistemas de incorporación escénica de saberes desde un pensamiento rizomático (Deleuze-Guattari) que crea una manera de entender-se en el mundo. Por lo tanto, las formas posdramáticas crean una agencia posdramática en los espectadores y dan la posibilidad de una lectura simbólica personal desde una vinculación personal entre los signos esfinge y su propia existencia, revalorizando al sujeto receptivo como un creador invisible.

Ivan Rinaldi, Nicola Fanelli, Giovanna Castellano et al.

Artificial Intelligence and generative models have revolutionized music creation, with many models leveraging textual or visual prompts for guidance. However, existing image-to-music models are limited to simple images, lacking the capability to generate music from complex digitized artworks. To address this gap, we introduce $\mathcal{A}\textit{rt2}\mathcal{M}\textit{us}$, a novel model designed to create music from digitized artworks or text inputs. $\mathcal{A}\textit{rt2}\mathcal{M}\textit{us}$ extends the AudioLDM~2 architecture, a text-to-audio model, and employs our newly curated datasets, created via ImageBind, which pair digitized artworks with music. Experimental results demonstrate that $\mathcal{A}\textit{rt2}\mathcal{M}\textit{us}$ can generate music that resonates with the input stimuli. These findings suggest promising applications in multimedia art, interactive installations, and AI-driven creative tools.

Piera Riccio, Georgina Curto, Thomas Hofmann et al.

At a time when the influence of generative Artificial Intelligence on visual arts is a highly debated topic, we raise the attention towards a more subtle phenomenon: the algorithmic censorship of artistic nudity online. We analyze the performance of three "Not-Safe-For-Work'' image classifiers on artistic nudity, and empirically uncover the existence of a gender and a stylistic bias, as well as evident technical limitations, especially when only considering visual information. Hence, we propose a multi-modal zero-shot classification approach that improves artistic nudity classification. From our research, we draw several implications that we hope will inform future research on this topic.

Tao Tang, Hong Liu, Yingxuan You et al.

Although existing video-based 3D human mesh recovery methods have made significant progress, simultaneously estimating human pose and shape from low-resolution image features limits their performance. These image features lack sufficient spatial information about the human body and contain various noises (e.g., background, lighting, and clothing), which often results in inaccurate pose and inconsistent motion. Inspired by the rapid advance in human pose estimation, we discover that compared to image features, skeletons inherently contain accurate human pose and motion. Therefore, we propose a novel semiAnalytical Regressor using disenTangled Skeletal representations for human mesh recovery from videos, called ARTS. Specifically, a skeleton estimation and disentanglement module is proposed to estimate the 3D skeletons from a video and decouple them into disentangled skeletal representations (i.e., joint position, bone length, and human motion). Then, to fully utilize these representations, we introduce a semi-analytical regressor to estimate the parameters of the human mesh model. The regressor consists of three modules: Temporal Inverse Kinematics (TIK), Bone-guided Shape Fitting (BSF), and Motion-Centric Refinement (MCR). TIK utilizes joint position to estimate initial pose parameters and BSF leverages bone length to regress bone-aligned shape parameters. Finally, MCR combines human motion representation with image features to refine the initial human model parameters. Extensive experiments demonstrate that our ARTS surpasses existing state-of-the-art video-based methods in both per-frame accuracy and temporal consistency on popular benchmarks: 3DPW, MPI-INF-3DHP, and Human3.6M. Code is available at https://github.com/TangTao-PKU/ARTS.

Ranti Meizatri, Rifma Rifma

Work character is a critical issue for vocational high school students in addition to their knowledge and competencies. This study described the level of work character readiness of vocational high school students' during the Covid-19 outbreak. The subjects of this study were third-grade vocational high school students in five vocational high schools at Padang City in the spectrum: (1) fisheries and marine, (2) business and management, (3) performing arts, (4) tourism, and (5) information and communication technology. Respondents were 75 students consisting of 40 females, and 35 males were selected using the proportional stratified random sampling technique. Instrument development refers to two indicators, namely moral character and work character. The instrument was validated by experts and through validity and reliability testing. The results testing showed that validity and reliability with the respective rho count 0.927> rho table 0.648 and r results in 0.907> r table 0.514. Data analysis used simple statistics to determine the respondent's level of achievement level (RAL) from the readiness of male and female students' moral and work characteristics. The results showed that the achievement level of job readiness of vocational high school students in Padang city had reached 85.5%. The result of this study has inference that the distance learning system (online learning) during the Covid-19 pandemic did not harm the readiness of the work character of vocational high school students.

Shahnaz Mohd, Baldev Shah, Khairul Anuar Samsuddin

This article reviews the Rhythms of Kinabalu 2022 from the dual perspective of management and performance. Ever since its commencement in 2011, Rhythms of Kinabalu has been a yearly large-scale event organised by the National Department for Culture and Arts under the Ministry of Tourism, Arts and Culture Malaysia along with other collaborative bodies. The aim of this festival is to showcase the diversity and uniqueness of the dances, arts, and music in Sabah for the purpose of their continued popularity, relevance, and sustainability. As such, the review examines the current nature of festival, paying attention to the various categories of performances and performers in Rhythms of Kinabalu 2022 as well as the favoured and less favoured performances and/or artists as indicated by viewer turnouts of the live shows. At the same time, the article seeks to understand the local audiences’ reception and/or reaction towards the event and its many shows to signal the current festivalgoers’ taste and preference of the performing arts. A main observation reveals the striking presence of the art of busking and an imbalance in the representation of modern and traditional art forms. Essentially, the representation of traditional arts was limited and those artists struggled to keep up with their more modern counterpart. Technology, namely, social media, has been identified to have played a major role in influencing this outcome and contributing to this scenario. Management wise, the lack of cooperation from business entities (i.e., premise operators and owners) in support of the local artists, performers, small and medium enterprises, and the event itself is a cause for concern as this has caused several setbacks which were detrimental to the festival’s operations. Hence, the art-based and managerial issues identified in this review may benefit the relevant stakeholders in its decision-making of the festival’s future cycles.

Ilinca Todorut

The Paintbrush Factory was a vital cultural centre in Cluj, Romania, that operated as a cooperative run by visual and performance artists. It produced and showcased art and performance for thirteen years, until its shutdown in 2022. That same year, I attended the emotionally charged book launch of Creativitatea-marfă (Creativity as Merchandise) written by Miki Braniște, one of The Paintbrush Factory’s main managers and curators. I employ the case study of the Factory and build on Braniște’s account of its institutional history against the background of municipal, national and European cultural policies to discuss the crisis of artistic production and artistic imaginaries under neoliberalism. I build a counternarrative to the implicit story fuelled by the neoliberal social imaginary that denies the possibility that theatre-making can put up a fight against its own commercialization. I show how in the neoliberal city, even radical performance projects serve gentrification policies that use artists’ work to help convert a post-industrial city into an urban landscape of deepening inequality. Given the dominance of economic logic exerted over the current social imaginary and the conflation of politics with business, I propose that the most artistically fruitful partnerships that artists can build are not with the public or private sector, but with marginalized communities.

P. K. Ng, N. Karjanto

This paper explores the impact of active learning in mathematical economics on students' academic performance (assessment scores). An experimental design involving foundation students enrolled in the arts and business and management foundation programmes in a British university located in Malaysia was adopted. The control group underwent the more traditional lecture method with the students taking on a passive role of listening to information disseminated by the instructor. The treatment group, in contrast, was given minimum explanation with the bulk of learning coming from students actively solving problems presented in case studies based on real-world events. Results show that the 189 students in the treatment group performed significantly better than the 146 students in the control group.

Abdul Muhsyi, Khanifatul Khusna, N. Subagio et al.

This research focuses on carnival performing arts as the sub-sector of performing arts. Banyuwangi, as one of the regencies in East Java Province, must evaluate its creative industry potential through the value chain to maintain business continuity. The pandemic has decreased the performance of all business sectors, including the creative industry in the performing arts (carnival) sub-sector. The main concern of business recovery should be related to the sustainability of the carnival performing arts sub-sector in the Banyuwangi region. This qualitative research aims to describe and explore the application of value chains and culture in the creative industry in the carnival performing arts sub-sector in Banyuwangi. The study results showed that the Value Chain Sustainability event model in Banyuwangi has five value chains, meaning that the carnival has five values in line with its basic concept. The chain of production, dissemination, exhibition, and consumption are the elements of the potential chain that can be used as a source of comparative advantage to maintain the continuity of the Banyuwangi carnival event.

Panji Estain Siregar, Antonius Edi Nugroho

Toba Nauli is a group with a typical traditional genre of the Batak tribe with a unique way of managing the group and performing differently from other groups in general. Player substitutions happen at every event. For 8 years, Toba Nauli Music Group has been in the business of providing music services, especially Batak music. So, the question in this phenomenon is what form of management and how can the management function be applied to Toba Nauli Music Group? This study uses a qualitative descriptive method to analyze the management forms and functions of the Toba Nauli musical group and some data obtained through documentary research, observation, interviews, and documents. Data analysis techniques are performed by collecting data, presenting data, reducing data and drawing conclusions, and then checking the validity of the data by Triangulation method.The research results show that Toba Nauli Music Group has a management form, namely (1) the legal basis including the form of organizational structure, management structure, management policy, and it turns out that they have not prepared Drafting the Group Charter (AD) and Internal Regulations (ART). Music Toba Nauli; (2) Management functions include planning, organizing, monitoring, and targeting. It can be concluded that Toba Nauli Music Group has a qualified performing arts and organization management system even though there is no written AD/ART and can perform all possible management functions. maintains existence to this day.

Olly Crick

The inherent ephemerality of performance, doubly so in respect of the debated practice of improvisation within the genre, presents many issues in terms of examining Commedia's history, both in terms of how a performance unfolded before an audience, and the hypothecated abilities of its performers. I propose that a way of understanding the historical practice is through an individual actor's development of individual performance habits. Commedia was the first professional theatre in which each actor played the same character in many different plays. In doing so they acquired embodied performance mannerisms that were recycled from show to show. These may be termed performative habits. This article focuses on 'habit' as a positive process of accruing the skills required to perform the genre's specific characteristic: the reusable 'stock character' appearing in multiple shows, with that role being based on a combination of geographical, social, economic factors and culturally embodied skills. One of the conclusions I draw is that these 'habits' required time to acquire and were done so within the context of an evolving system or method of performance skills, publicity and business practices together with the social skills required to inhabit this putative system over a significant proportion of the actor's life. An individual's al improvisso performance, within a scenario, therefore, can be seen as a conscious deployment of acquired and highly specific performance habits.

Asif Khan, Sughra Bibi, Jiaying Lyu et al.

ABSTRACT This study explores the vulnerability and resilience of the US Leisure and Hospitality industry sector-wise by taking employment levels in seven different business segments. An autoregressive distributed lag (ARDL) model approach was applied to daily time series data of employment and COVID-19 to assess each sector's fragility and resilience. The findings reveal that museums and historical places, performing arts, and sports are the worst influenced sectors and exhibit low resilience. The accommodation sector initially shows high vulnerability; however, it bounces back by showing high resilience compared to some of the other sectors. The rest of the sector presents the same story negatively influenced by pandemic but eventually reveals a sign of recovery. A detailed discussion with the theoretical and practical implications is provided.

Giuliano Danieli

Scholars agree that a fundamental incongruity lies at the core of neorealism’s “lack of audiophilia” (Sisto 2014). While neorealist directors aimed to bridge the gap between their films and the portrayed protagonists – notably marginalised, subaltern people –, the music and voices of the latter tended to be muted and disempowered by soundtracks that relied on well-established norms of film-scoring practices (Dyer 2006). This remark applies to several post-war Italian films, but the case of Giuseppe De Santis seems to complicate it. Through audiovisual analysis and the study of archival sources, this article examines how the director participated in the wave of rediscovery of folklore in post-war Italy, and how he contributed to the creation of (ambiguous) discourses about the folk’s voice, which leftist intellectuals regarded as the repository of anti-capitalist values. Firstly, I explore internal tensions in De Santis’ remediation of folk music. My analysis of the values attached to this repertoire in the rural film Caccia tragica (1947) shows that De Santis tended at once to affirm the “folk music vs capitalism” dichotomy, and to blur the line of such divide through several (involuntary?) short-circuits. The examination of these discursive fractures helps provide a nuanced understanding of the position occupied by folk music in post-war Italian cultural politics. Secondly, I claim that a comprehensive approach to film soundtracks may call into question the idea of neorealism’s indifference to the subalterns’ voice. Indeed, sound, more than music, proved essential for the director to try and empower the portrayed folkloric communities. I demonstrate the point by analysing the construction of folkloric soundscapes in Caccia tragica, where resonance is given to bells, whistles, and clapping that subvert the hegemonic world of the film’s villains. My account is complemented by a discussion of music and sound in Noi che facciamo crescere il grano (ca. 1953), one of De Santis’ unfinished projects.

Muhammad Fahad, Jérôme Darmont, Cécile Favre

In the current era, many disciplines are seen devoted towards ontology development for their domains with the intention of creating, disseminating and managing resource descriptions of their domain knowledge into machine understandable and processable manner. Ontology construction is a difficult group activity that involves many people with the different expertise. Generally, domain experts are not familiar with the ontology implementation environments and implementation experts do not have all the domain knowledge. We have designed Collaborative Business Intelligence Ontology (CBIOnt) for BI4People project. In this paper, we present CBIOnt that is OWL 2 DL ontology for the description of collaborative session between different collaborators working together on the business intelligent platform. As the collaborative session between various collaborators belongs to some collaborative form, phase and research aspect, therefore CBIOnt captures this knowledge along with the collaborative session content (comments, questions, answers, etc.) so that one can inference various types of information stored on ontologies when required. In addition, it stores the location and temporal-spatial information about the collaboration held between collaborators. We believe CBIOnt serves as a formal framework for dealing with the collaborative session taken place among collaborators on the semantic Web.