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- Creators: Arizona State University
Description
With the rapid growth of mobile computing and sensor technology, it is now possible to access data from a variety of sources. A big challenge lies in linking sensor based data with social and cognitive variables in humans in real world context. This dissertation explores the relationship between creativity in teamwork, and team members' movement and face-to-face interaction strength in the wild. Using sociometric badges (wearable sensors), electronic Experience Sampling Methods (ESM), the KEYS team creativity assessment instrument, and qualitative methods, three research studies were conducted in academic and industry R&D; labs. Sociometric badges captured movement of team members and face-to-face interaction between team members. KEYS scale was implemented using ESM for self-rated creativity and expert-coded creativity assessment. Activities (movement and face-to-face interaction) and creativity of one five member and two seven member teams were tracked for twenty five days, eleven days, and fifteen days respectively. Day wise values of movement and face-to-face interaction for participants were mean split categorized as creative and non-creative using self- rated creativity measure and expert-coded creativity measure. Paired-samples t-tests [t(36) = 3.132, p < 0.005; t(23) = 6.49 , p < 0.001] confirmed that average daily movement energy during creative days (M = 1.31, SD = 0.04; M = 1.37, SD = 0.07) was significantly greater than the average daily movement of non-creative days (M = 1.29, SD = 0.03; M = 1.24, SD = 0.09). The eta squared statistic (0.21; 0.36) indicated a large effect size. A paired-samples t-test also confirmed that face-to-face interaction tie strength of team members during creative days (M = 2.69, SD = 4.01) is significantly greater [t(41) = 2.36, p < 0.01] than the average face-to-face interaction tie strength of team members for non-creative days (M = 0.9, SD = 2.1). The eta squared statistic (0.11) indicated a large effect size. The combined approach of principal component analysis (PCA) and linear discriminant analysis (LDA) conducted on movement and face-to-face interaction data predicted creativity with 87.5% and 91% accuracy respectively. This work advances creativity research and provides a foundation for sensor based real-time creativity support tools for teams.
ContributorsTripathi, Priyamvada (Author) / Burleson, Winslow (Thesis advisor) / Liu, Huan (Committee member) / VanLehn, Kurt (Committee member) / Pentland, Alex (Committee member) / Arizona State University (Publisher)
Created2011
Description
MOVE was a choreographic project that investigated content in conjunction with the creative process. The yearlong collaborative creative process utilized improvisational and compositional experiments to research the movement potential of the human body, as well as movement's ability to be an emotional catalyst. Multiple showings were held to receive feedback from a variety of viewers. Production elements were designed in conjunction with the development of the evening-length dance work. As a result of discussion and research, several process-revealing sections were created to provide clear relationships between pedestrian/daily functional movement and technical movement. Each section within MOVE addressed movement as an emotional catalyst, resulting in a variety of emotional textures. The sections were placed in a non-linear structure in order for the audience to have the space to create their own connections between concepts. Community was developed in rehearsal via touch/weight sharing, and translated to the performance of MOVE via a communal, instinctive approach to the performance of the work. Community was also created between the movers and the audience via the design of the performance space. The production elements all revolved around the human body, and offered different viewpoints into various body parts. The choreographer, designers, and movers all participated in the creation of the production elements, resulting in a clear understanding of MOVE by the entire community involved. The overall creation, presentation, and reflection of MOVE was a view into the choreographer's growth as a dance artist, and her values of people and movement.
ContributorsPeterson, Britta Joy (Author) / Fitzgerald, Mary (Thesis advisor) / Schupp, Karen (Committee member) / Mcneal Hunt, Diane (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation examines songs, sticks, and stories pertaining to Tohono O'odham pilgrimages to Magdalena, Sonora, Mexico, the home of their patron saint, Saint Francis. In the sense that Tohono O'odham travel to Magdalena in order to sustain their vital and long-standing relationship with their saint, these journeys may be understood as a Christian pilgrimages. However, insofar as one understands this indigenous practice as a Christian pilgrimage, it must also be noted that Tohono O'odham have made Christianity their own. The findings show that Tohono O'odham have embedded, or emplaced, Christianity within their ancestral landscapes, and that they have done so in a variety of ways through songs, staffs, and stories. This work emphasizes connections between O'odham processes of producing places and persons. Songs associated with the journey to Magdalena, which contain both geographical and historical knowledge, foreground the significance of place and the movements of various persons at the places mentioned within them. The staffs of O'odham walkers, like other sticks, similarly contain both geographical and historical knowledge, evoking memories of past journeys in the present and the presence of Magdalena. Staffs are also spoken of and treated as persons, or at least as an extension of O'odham walkers. O'odham stories of good and bad walkers illustrate contested O'odham ideologies of socially sanctioned movements. Finally, this dissertation concludes by demonstrating some of the ways in which O'odham senses of their own history diverge from academic models of Tohono O'odham history and the history of Christianity in the Americas.
ContributorsSchermerhorn, Seth (Author) / Swanson, Tod D (Thesis advisor) / Brown, Eddie F. (Committee member) / Feldhaus, Anne (Committee member) / Arizona State University (Publisher)
Created2013
Description
The intention for the dance production Story was to develop and explore a collaborative creative process to communicate a specific narrative to an audience. The production took place in the Margaret Gisolo Dance Studio at Arizona State University on November 18, 19, and 20, 2011. The purpose of my thesis work was to investigate how my personal inspiration from classical ballet, balletic movement vocabulary, fantasy narrative (an imaginative fictional story), supportive lighting, set, costumes and expressive sound might merge within a collaborative dance-making process. The final choreography includes creative input from the participating dancers and designers, as well as constructive feedback from my thesis committee. My reflection on the creative process for Story describes the challenges and personal growth I experienced as a result of the project.
ContributorsAllen, Karryn (Author) / Dyer, Becky (Thesis advisor) / Murphey, Claudia (Committee member) / Gharavi, Lance (Committee member) / Piver, Harper (Committee member) / Arizona State University (Publisher)
Created2012
Description
Using models identified by communications scholars Herbert W. Simons and Charles J. Stewart, a rhetorical analysis was conducted on contemporary Tea Party Movement (TPM) artifacts in an attempt to gauge the movement's authenticity as it relates to grassroots advocacy versus astroturfing. The models provided a theoretical framework in which the functions of social movement leaders were analyzed, as well as the rhetorical phases of a movement. Additionally, the notions of advocacy and astroturfing were defined and the concepts compared and contrasted. Used in conjunction with one another the models provided a framework in which TPM artifacts could be analyzed. Analysis was conducted on the websites for the Tea Party Patriots and Tea Party Express, a one-month sample of Sarah Palin FaceBook posts, two speeches delivered by Michelle Bachmann, and finally one speech given by Palin. Examples for each of the necessary rhetorical components identified were found within TPM sources, thus leading to the conclusion that the TPM operates primarily as a grassroots advocacy movement.
ContributorsZukowski, Kassandra (Author) / Holmer Nadesan, Majia (Thesis advisor) / Mean, Lindsey (Committee member) / Eric Ramsey, Ramsey (Committee member) / Arizona State University (Publisher)
Created2011
Description
Research in fulfillment of the degree of Doctor of Musical Arts in performance has included CD recording projects, commissions of new pieces, as well as papers on existing pieces that push the performer beyond traditional playing by incorporating extended techniques, multimedia, technology, or movement. This study attempts to synthesize these ideas by commissioning a new work for clarinet and electronics that can be performed alone, combined with movement, or with an interactive video accompaniment. Primary work for this project has been the audio recording, music video, and live dance performance of the new work, entitled Agents of Espionage, which can be viewed at: http://www.youtube.com/watch?v=SAZ20kCb0Qg or http://www.youtube.com/watch?v=94- C7wWTeKs&context;=C4063fdcADvjVQa1PpcFPv1fBtuWcqgV638q_BRacH7 XWR-xy1B7A=. The entirety of the project, including creating the music, video, audio recordings, and dance was completed on a limited budget of under $500USD, using all student performers and creators. The accompanying written document outlines the various steps for completing each portion of the project, interviews with the artists involved, including Zachary Bramble, composer; Jason Mills, videographer; and Jacquelyn Achord, choreographer; and an analysis of the music from the performer's perspective. This paper should convey ideas about how future undertakings of this sort are possible. This work has been greatly inspired by Martin Fröst and his collaboration with Fredrik Hogberg on the piece The Invisible Duet.
ContributorsViliunas, Brian Bodo (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Marshall, Kimberly (Committee member) / Schuring, Martin (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this dissertation was to document the teaching practices and underlying intentions of teachers in a Waldorf early childhood program in relationship to integrative movement and its connections to learning for the kindergarten through grade three learner. Current concerns about unhealthy sedentary lifestyles and the decreasing emphasis on physical activity/movement in public schools are growing. This dissertation explores current educational research related to the effects of movement on cognitive processing and the potential effects of movement on learning, particularly in a Waldorf-based early childhood program in which movement is integrated into all aspects of learning (including all academic subjects). This dissertation includes a literature review of current research and theory, and a qualitative micro-ethnographic case study of a Waldorf-based early childhood program that involved teacher observations and interviews. Key findings: the Waldorf-based early childhood program provided practical methods for (1) encouraging various modes of free play intended to enhance a child's physical, social/emotional and academic development, (2) integrating teacher-led movements into the daily curriculum, (3) utilizing movement to aid cognitive processing and prepare students for more sedentary academic work, (4) integrating remedial work into the daily classroom curriculum, and (5) utilizing intentional movement to help a child learn to embody stillness as a means of focusing attention and energy. Movements integrated into the curriculum by the teachers created observable positive effects on the students: eagerness to participate, recall, extending focus and attention, and creating social awareness and cooperation. Conclusions: (1) Waldorf-based education programs may provide practical examples and theoretical perspectives relevant to the creation of an integrated and comprehensive movement-based curriculum for the early childhood learner, and (2) The Waldorf teachers studied provide a counter-position to early childhood teaching practices that utilize movement as a break from sedentary learning. This study revealed the effects of imposing or integrating stillness into a movement-rich curriculum. Future recommendations include more comprehensive research on Waldorf-based educational programs and educational research that reaches beyond movement's potential positive or negative effect on a student's academic progress to study in more depth how and why movement impacts learning for the young child.
ContributorsDarian, Andrew (Author) / Surbeck, Elaine (Thesis advisor) / Swadener, Elizabeth (Committee member) / Christie, James (Committee member) / Arizona State University (Publisher)
Created2012
Description
The paper is researching the subject of texture in dancing, and exploring the definition, causes, stories, and description of texture in different dance styles through daily training, choreography and improvisation. It’s also probing if different dance styles can integrate and connect naturally together without conflict. Also, the project is related to live music and recorded music, seeking more about the relationship between dance texture and music. The final 20 minutes piece contains video projection technology and live dance performance (improvisation and choreography), which went along with my creative idea and framework of my research on the various textures. The goal of my project is to understand and figure out the definition of the texture in dancing, to find out the reasons for the forming and appearance behind each dancer's distinctive texture with unique characteristics and qualities, to make attempts to find a way to analyze and describe the texture of their movements, and to know and explore what factors do influence the texture of their display. At the same time, I was exploring how to naturally connect the sound of the violin with the dance styles and textures, and how to interpret the violinist’s creating process through dance performances. In the process, each dancer is like a materialization of the violinist’s emotions and expressions. Using the appropriate combination of music and dance movements to express the violinist’s inner mental and emotional changes in the creative process.
ContributorsKong, Tongjie (Author) / Dyer, Becky BD (Thesis advisor) / Magana, Jorge JM (Thesis advisor, Committee member) / Denaro, Anthony AD (Committee member) / Barnes, LaTasha LB (Committee member) / Arizona State University (Publisher)
Created2023
Description
This thesis aims to explore the language of different bodies in the field of dance by analyzing
the habitual patterns of dancers from different backgrounds and vernaculars. Contextually,
the term habitual patterns is defined as the postures or poses that tend to re-appear,
often unintentionally, as the dancer performs improvisational dance. The focus lies in exposing
the movement vocabulary of a dancer to reveal his/her unique fingerprint.
The proposed approach for uncovering these movement patterns is to use a clustering
technique; mainly k-means. In addition to a static method of analysis, this paper uses
an online method of clustering using a streaming variant of k-means that integrates into
the flow of components that can be used in a real-time interactive dance performance. The
computational system is trained by the dancer to discover identifying patterns and therefore
it enables a feedback loop resulting in a rich exchange between dancer and machine. This
can help break a dancer’s tendency to create similar postures, explore larger kinespheric
space and invent movement beyond their current capabilities.
This paper describes a project that distinguishes itself in that it uses a custom database
that is curated for the purpose of highlighting the similarities and differences between various
movement forms. It puts particular emphasis on the process of choosing source movement
qualitatively, before the technological capture process begins.
the habitual patterns of dancers from different backgrounds and vernaculars. Contextually,
the term habitual patterns is defined as the postures or poses that tend to re-appear,
often unintentionally, as the dancer performs improvisational dance. The focus lies in exposing
the movement vocabulary of a dancer to reveal his/her unique fingerprint.
The proposed approach for uncovering these movement patterns is to use a clustering
technique; mainly k-means. In addition to a static method of analysis, this paper uses
an online method of clustering using a streaming variant of k-means that integrates into
the flow of components that can be used in a real-time interactive dance performance. The
computational system is trained by the dancer to discover identifying patterns and therefore
it enables a feedback loop resulting in a rich exchange between dancer and machine. This
can help break a dancer’s tendency to create similar postures, explore larger kinespheric
space and invent movement beyond their current capabilities.
This paper describes a project that distinguishes itself in that it uses a custom database
that is curated for the purpose of highlighting the similarities and differences between various
movement forms. It puts particular emphasis on the process of choosing source movement
qualitatively, before the technological capture process begins.
ContributorsIyengar, Varsha (Author) / Xin Wei, Sha (Thesis advisor) / Turaga, Pavan (Committee member) / Coleman, Grisha (Committee member) / Arizona State University (Publisher)
Created2016
Description
The increased risk of falling and the worse ability to perform other daily physical activities in the elderly cause concern about monitoring and correcting basic everyday movement. In this thesis, a Kinect-based system was designed to assess one of the most important factors in balance control of human body when doing Sit-to-Stand (STS) movement: the postural symmetry in mediolateral direction. A symmetry score, calculated by the data obtained from a Kinect RGB-D camera, was proposed to reflect the mediolateral postural symmetry degree and was used to drive a real-time audio feedback designed in MAX/MSP to help users adjust themselves to perform their movement in a more symmetrical way during STS. The symmetry score was verified by calculating the Spearman correlation coefficient with the data obtained from Inertial Measurement Unit (IMU) sensor and got an average value at 0.732. Five healthy adults, four males and one female, with normal balance abilities and with no musculoskeletal disorders, were selected to participate in the experiment and the results showed that the low-cost Kinect-based system has the potential to train users to perform a more symmetrical movement in mediolateral direction during STS movement.
ContributorsZhou, Henghao (Author) / Turaga, Pavan (Thesis advisor) / Ingalls, Todd (Committee member) / Papandreou-Suppappola, Antonia (Committee member) / Arizona State University (Publisher)
Created2016