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We find the best possible constant $C$ in the inequality $$\|\varphi\|_{L^r}^{\phantom{\frac{p}{r}}}\leq C\|\varphi\|_{L^p}^{\frac{p}{r}}\|\varphi\|_{\mathrm{BMO}}^{1-\frac{p}{r}}$$ for all possible values of parameters $p$ and $r$ such that $1 \le p < r < +\infty$. We employ the Bellman function technique to solve this problem. The Bellman functio...
We consider sticks with random lengths, which are further randomly broken into several pieces. The probability that these sticks can form a polygon is computed in this article. This Broken Pick-up Stick Problem was first asked in [1] and we give a general formula to solve this problem. Besides, we study the probability that any three sticks with in...
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... This aim is pursued within sustainable development goals pertaining to education, health, economic growth and equity. The editors have all engaged extensively with the complex methodological questions that arise when working on such goals across disciplines, understanding that invitations to propose answers, like this Research Topic, are essential for the advancement of Performance Science (Williamon et al., 2021;Hansen, 2017Hansen, , 2023Bläsing et al., 2019). ...
... As participatory arts and practice research are iterative approaches that value process as well as artistic products combining ethical and esthetic motivations, new models of data are needed appropriate to this fluidity. This would offer a potential third space for transdisciplinary enquiry (Hansen, 2017). ...
There are increasing demands for Participatory Arts-Based (PAB) programs involved in health research to better evidence outcomes using robust quantitative evaluation methodologies taken from science, such as standardized questionnaires, to inform commissioning and scale-up decisions. However, for PAB researchers trying to do this, barriers arise from fundamental interdisciplinary differences in values and contexts. Researchers are required to navigate the tensions between the practice-based evidence produced by the arts and the evidence-based practice sought by psychologists. Consequently, there is a need for interdisciplinary arts-science collaborations to produce alternative methods of evaluation that are better aligned to PAB approaches, and which combine systematic rigor with a sensitivity to the values, contexts and strengths of this approach. The current article centers on the development of an alternative transdisciplinary analytic tool, the Participatory arts Play Framework (PP-Framework), undertaken as part of an arts-psychology collaboration for a UK AHRC-funded PAB research project: Playing A/Part: Investigating the identities and experiences of autistic girls. We present details of three stages in the development of the PP-Framework: 1. preliminary emergence of the framework from initial video analysis of observational data from participatory music and sound workshops run for 6 adolescent autistic girls (aged 11–16); 2. identification and application of modes of engagement; and 3. further testing of the framework as an evaluation tool for use in a real-world setting, involving professional musicians engaged in delivery of a creative music project at a center for homeless people. The PP-Framework maps types of participation in terms of performative behaviors and qualities of experience, understood as modes of play. It functions as a vehicle for analyzing participant engagement, providing a tool predicated on the processes of working in creative participatory contexts while also being sensitive to the esthetic qualities of what is produced and capable of capturing beneficial changes in engagement. It offers a conceptual approach for researchers to undertake observation of participatory arts practices, taking account of embodied engagement and interaction processes. It is informed by understandings of autistic performativity and masking in conjunction with an ecological understanding of sense making as being shaped by environments, social relations and sensing subjectivity. The framework has the potential to be a bi-directional tool, with application for both practitioners and participants.
... 3. This design follows the interdisciplinary "Research-Based Practice" model (Hansen 2017). ...
In this forum article, I begin to contour the triad of partly overlapping ethical spheres that I operate within when crossing practice-based and empirical research in the performing arts. I also begin to suggest a few approaches that may help me and others navigate these spheres. The ethical spheres I contour are (1) situational and relational ethics; (2) equity, diversity, inclusivity, and accessibility (EDIA); and (3) institutional ethics protocols. This triad is, furthermore, considered with reference to an ethically complex research program titled “strengths-based dramaturgies of accessibility in the performing arts.”
... When arts portions of STEAM efforts are framed as research, as they are with the incorporation of PAR, a process may emerge that renders "artistic inquiry an equal research partner." 19 Performance studies scholar Lynette Hunter proposes that interdisciplinary laboratory spaces can foster an understanding that the sciences and the arts are parts of a broad cultural spectrum, offering that PAR methods hold the potential to generate a "third space" for which interdisciplinary exchange (conversations among scholars and artists of diverse disciplinary distinctions) and transdisciplinary research (knowledge-generative processes that move ideas across schools of thought) might transpire. She describes her process: "The third space was conceived as a safe lab for rule breaking and novel interdisciplinary exploration, which is defined by neither methodology nor output objectives." ...
“That which We Call A Rose,” (“Rose”) is a multi-media performance-as-research project, with puppets and robots, that I devised with a diverse ensemble of undergraduates and professionals to explore questions about planetary nomenclature, climate change, and colonization. “Rose” explicitly challenges andro-and euro-centric hegemonies embedded in 21st century space exploration and invites its audiences to do the same. STEAM (Science, Technology, Engineering, Arts, and Mathematics) has become a popular pedagogy for K-12 education. Many K-12 STEAM programs claim to put art at the heart of STEM, but often prioritize science content over creative process, falling short of the potential that STEAM holds to foster lifelong learners and innovators who are curious, skilled, and literate across a variety of disciplinary and cultural boundaries. The Rhode Island School of Design (RISD), on the other hand, promotes a K-20 STEAM pedagogy that acknowledges the importance of facilitating young learners’ creative inquiry as well as the potential for mature artists to become equally-valued culture creators across arts, science, and social domains. In this article, I use “Rose” as a case study to query the possibilities of implementing performance-as-research as an essential component of STEAM pedagogies. I examine the ways that artists can invite audiences across multiple social identities to join in processes of performance creation as a means of critical inquiry of STEM fields. The performance-as-research process encourages participant audiences to authentically engage in arts practices as a means of actively combatting social issues such as climate change, professional gender and racial inequity, and the colonialist traditions implicit to contemporary space exploration.
... As highlighted by Berceanu et al., it is difficult to dissect performance and plays into smaller parts without losing specific characteristics. Comparable issues are present in the field of dance (e.g., Christensen and Jola, 2015;Hansen, 2017), where a focus on quantifiable motion parameters can seemingly alleviate intangible facets. Similarly, elements such as language, gestures and poses seem to offer useful parameters for the study of acting, though examples remain limited. ...
... The overall study design follows the "Research-based Practice" model for multi-disciplinary research involving the performing arts (Hansen and Barton, 2009;Hansen, 2017). This model enables team members conducting quantitative, qualitative, and artistic research with shared research questions and empirical sources to systematically apply the methodologies of their respective disciplines and to arrive at results with high discipline-specific validity. ...
The ability of dance to address social isolation is argued, but there is a lack of both evidence of such an effect and interventions designed for the purpose. An interdisciplinary research team at University of Calgary partnered with Kaeja d’Dance to pilot test the effects of an intervention designed to facilitate embodied social connections among older adults. Within a mixed methods study design, pre and post behavioral tests and qualitative surveys about experiences of the body and connecting were administered to thirteen participants along with test instruments of loneliness and body appreciation. In the short-term, no significant changes were found on quantitative tests. Exploratory analysis revealed intervention improvements on individual body appreciation questions only. This indication of change was strongly supported by converging qualitative data and identified as relating to: increased connection through task-based collaboration, increased awareness of interpersonal boundaries, and a shift to experiencing the body as responsive. These indications of increased relational capacity were deemed likely to cause further impact in the long term. Examining this possibility and the subsequently arisen factor of COVID-19 risks and restrictions, test instruments were administered again to 10 participants 4 and 5 months after the intervention. A significant increase in loneliness was found. Despite this negative impact of COVID-19 isolation, several positive intervention changes remained detectable and some continued to increase over time. Seventy percent of the participants, who made new social contacts during the intervention and later sought continued contact, improved significantly across all body appreciation measures over the full study. The qualitative data from the last two time-points revealed both consistent values and new, negative changes. While these preliminary findings speak to the durability of intervention changes, they also identify areas of urgent priority to help older adults restore embodied relational capacity that has declined during COVID-19. Within the limitations of a small-sample pilot study, converging mixed methods results support the hypothesis that dance interventions designed for the purpose can positively affect the social inclusion of older adults. Although we recommend further study, these promising results also indicate that dance interventions can help older adults recover from pandemic isolation.
This book analyzes the self-organizing dramaturgies of dance works that generate performance systematically. It identifies the generating components and dynamics of these works and the kinds of dramaturgical agency they enable. It explains how the systems of these creations affect the perception, cognition, and learning of dancers and why that is a central part of how they work. It also examines how the combined dramaturgical and psychological effects of the systems performatively address individual and social conditions of trauma that otherwise tend to remain unchangeable and negatively impact the human capacity to learn, relate, and adapt.
The book makes these insights, the frameworks used to arrive at them, and the examined dance works available for researchers, students, and artists. It provides effective resources for those who wish to study or realize the potential of performance generating systems in dance within the fields of choreography and dance dramaturgy, dance education, community dance, or dance psychology.
The book features systems by William Forsythe, Deborah Hay and Christopher House, Ame Henderson, Karen Kaeja, and Lee Su-Feh.
(The open source full text included here features the book cover, table of contents, a substantial introduction chapter, and references.)
A wide view is taken of the twenty-first-century cultural context in which academic research is undertaken, mapping the shifting epistemological ground disturbed by profound challenges to evidence-based inquiry and the assertion of “alternative facts.” It reflects on the disposition to deconstruction characterizing much Practice Research which also fundamentally interrogates the foundations on which knowledge might be based. The difference from Trumpism might lie, it suggests, in an ethical disposition where an onto-epistemological consensus is lacking. The case for evidence-based inquiry in research is sustained, requiring inter-subjective agreement, even where the new models of oeuvres displace that of linear rational argument. The chapter concludes by marking developments across disciplines allowing the praxis of Practice Research to make a distinctive contribution to the “future university.”
This chapter reflects on what has changed in, and what has been achieved by, the “Practice as Research initiative” over the past decade. It traces the broader institutional developments that bring previously free-standing arts institutions into the university sector, and the challenges of combining different traditions with possibly conflicting aims. A specific comparison is also made between “Practice as Research” (PaR) and “Artistic Research.” A case is opened for a more sustainable future for the arts within a broader university (as distinct from arts university) context in respect of cultures where the arts are under threat. But it also argues for inter- (or intra-)disciplinarity and the applicability of the PaR approach beyond the arts, proposing a “Circuit of Entanglement” model for intra-related research methods.
AllPlay Dance is founded on a collaborative approach to research between the School of Psychology and the School of Communication of Creative Arts, both of Deakin University. The research is also undertaken in partnership with professional ballet company, Queensland Ballet. This paper describes the development and execution of two pilot projects for children with disability, utilizing a dance studies methodology. The projects were conducted in 2018 and 2019 for children with cerebral palsy (CP) and autism spectrum disorder, as part of the AllPlay Dance program. Participants with disabilities ranged in age from 7 to 12 years. As well as describing the approach to the program development, we discuss the involvement of older and more experienced buddies who were included as a method to support the participation in dance of children with disabilities. We will also describe the diffusion of authorship in the making of group dances as a tool for inclusion and the premise of dance as a social practice in which participants inter-subjectively generate meaning and sense making. The AllPlay Dance projects were developed as a series of dance classes in which participants worked with set or learned movement material, dance improvisation, and tasks for movement generation in order to collectively generate a dance for performance. This paper focuses on the aim of developing inclusive approaches to dance classes that challenge “ableist” notions of dance as spectacle to enable to work toward building transferable programs to allow all children who so desire and to participate in dance in their communities.
