College of Architecture, Arts, and Design (CAAD)

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https://hdl.handle.net/10919/5538
Note that the School of Public and International Affairs (SPIA) is now located in the College of Liberal Arts and Human Sciences.

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Browsing College of Architecture, Arts, and Design (CAAD) by Department "School of Performing Arts"

Now showing 1 - 8 of 8
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    Dance on the Brain: Enhancing Intra and Inter-Brain Synchrony
    Basso, Julia C.; Satyal, Medha K.; Rugh, Rachel (Frontiers, 2021-01-07)
    Dance has traditionally been viewed from a Eurocentric perspective as a mode of self-expression that involves the human body moving through space, performed for the purposes of art, and viewed by an audience. In this Hypothesis and Theory article, we synthesize findings from anthropology, sociology, psychology, dance pedagogy, and neuroscience to propose The Synchronicity Hypothesis of Dance, which states that humans dance to enhance both intra- and inter-brain synchrony. We outline a neurocentric definition of dance, which suggests that dance involves neurobehavioral processes in seven distinct areas including sensory, motor, cognitive, social, emotional, rhythmic, and creative. We explore The Synchronicity Hypothesis of Dance through several avenues. First, we examine evolutionary theories of dance, which suggest that dance drives interpersonal coordination. Second, we examine fundamental movement patterns, which emerge throughout development and are omnipresent across cultures of the world. Third, we examine how each of the seven neurobehaviors increases intraand inter-brain synchrony. Fourth, we examine the neuroimaging literature on dance to identify the brain regions most involved in and affected by dance. The findings presented here support our hypothesis that we engage in dance for the purpose of intrinsic reward, which as a result of dance-induced increases in neural synchrony, leads to enhanced interpersonal coordination. This hypothesis suggests that dance may be helpful to repattern oscillatory activity, leading to clinical improvements in autism spectrum disorder and other disorders with oscillatory activity impairments. Finally, we offer suggestions for future directions and discuss the idea that our consciousness can be redefined not just as an individual process but as a shared experience that we can positively influence by dancing together.
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    Devising Commedia as an Antiracist Theatre Practice in The Artful Token
    Rosin, Jordan (2021-08-07)
    This presentation will recount some of Jordan Rosin's key insights from producing and directing an ensemble-devised Contemporary Commedia adaptation of Goldoni's The Artful Widow with undergraduate students at Virginia Tech, employing a process which combined The Ume Group's Devising Methodology, Liz Lerman's Critical Response Process, Theatrical Intimacy Education-inspired boundary practices, and Nicole Brewer's Antiracist Theatre principles. Major insights revolve around opportunities and limitations of Commedia as an antiracist/anti-oppressive practice, as well as the synergies between consent, harm prevention, Liz Lerman's CRP, Emergent Strategy, and the roles of actor-creator and director-as-facilitator.
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    From Kerry to Chiconcuac: Marie Jones’s Stones in His Pockets and Sabina Berman’s eXtras
    Bixler, Jacqueline E. (2020-05)
    This article focuses on the Mexican play, eXtras, Sabina Berman's translation and adaptation of the Irish hit play Stones in His Pockets by Marie Jones. Linda Hutcheon, Thomas Leitch, and other contributors to adaptation studies shed light on the process used by Berman to tradapt and glocalize Stones in His Pockets for the Mexican stage, where the combined forces of Hollywood and globalization have likewise ravaged the local economy and where Jones's tragicomic story of exploitation and anonymization played every bit as well as it did in Ireland.
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    Reimagining Human Capacity For Location-Aware Aural Pattern Recognition: A Case For Immersive Exocentric Sonification
    Bukvic, Ivica Ico; Earle, Gregory D. (Georgia Institute of Technology, 2018-06)
    The following paper presents a cross-disciplinary snapshot of 21st century research in sonification and leverages the review to identify a new immersive exocentric approach to studying human capacity to perceive spatial aural cues. The paper further defines immersive exocentric sonification, highlights its unique affordances, and presents an argument for its potential to fundamentally change the way we understand and study the human capacity for location-aware audio pattern recognition. Finally, the paper describes an example of an externally funded research project that aims to tackle this newfound research whitespace.
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    Studies In Spatial Aural Perception: Establishing Foundations For Immersive Sonification
    Bukvic, Ivica Ico; Earle, Gregory D.; Sardana, Disha; Joo, Woohun (Georgia Institute of Technology, 2019-06)
    The Spatial Audio Data Immersive Experience (SADIE) project aims to identify new foundational relationships pertaining to human spatial aural perception, and to validate existing relationships. Our infrastructure consists of an intuitive interaction interface, an immersive exocentric sonification environment, and a layer-based amplitude-panning algorithm. Here we highlight the system’s unique capabilities and provide findings from an initial externally funded study that focuses on the assessment of human aural spatial perception capacity. When compared to the existing body of literature focusing on egocentric spatial perception, our data show that an immersive exocentric environment enhances spatial perception, and that the physical implementation using high density loudspeaker arrays enables significantly improved spatial perception accuracy relative to the egocentric and virtual binaural approaches. The preliminary observations suggest that human spatial aural perception capacity in real-world-like immersive exocentric environments that allow for head and body movement is significantly greater than in egocentric scenarios where head and body movement is restricted. Therefore, in the design of immersive auditory displays, the use of immersive exocentric environments is advised. Further, our data identify a significant gap between physical and virtual human spatial aural perception accuracy, which suggests that further development of virtual aural immersion may be necessary before such an approach may be seen as a viable alternative.
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    The Ume Group's "Identity"
    Luna, Jorge; Yokko; Rosin, Jordan; Sheridan, Keelie; Sindicich, Karina; Rosin, Kaitlyn Samuel (Virginia Tech, 2021-04-11)
    On April 11, 2021, The Ume Group Playback Ensemble, a branch of the New York City-based physical theatre company, The Ume Group (www.theumegroup.org), gave a public performance on the theme of “Identity.” This was only their second-ever public performance (and third-ever Playback Theatre performance in general). As part of the group’s commitment to rotating roles and leadership, this was also the first time conducting for the two co-conductors, Yokko & Jorge. Production Credits: Conductors｜Jorge Luna & Yokko Actors / Musicians｜Keelie Sheridan, Karina Sindicich, Kaitlyn Samuel Rosin, Jordan Rosin Producer｜Jordan Rosin Rehearsal Director｜Kaitlyn Samuel Rosin Duration: 1 hr, 24 min Forms Used: Flares｜Fluid Sculpture｜Song & Movement Pair ｜Perspectives ｜3-Part Story｜Narrative V
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    The Ume Group's "Voices in the Stone"
    Rosin, Jordan; Luna, Jorge; Yokko; Sheridan, Keelie; Sindicich, Karina; Rosin, Kaitlyn Samuel; Douglas, Kate (Virginia Tech, 2021-05-06)
    On May 6, 2021, The Ume Group Playback Ensemble, a branch of the New York City-based physical theatre company, The Ume Group (theumegroup.org), gave a commissioned performance for alumni of Virginia Tech’s College of Liberal Arts & Human Sciences as part of the lead-up to the university’s 150 year anniversary celebrations. The performance was sponsored by the Virginia Tech History Council with support from the School of Performing Arts. The performance begins with a soundscape overture featuring a new version of “Tech Triumph” (the Virginia Tech Fight Song composed in 1919 by Wilfred Pete Maddux and Mattie Eppes) adapted for this event by The Ume Group’s Kate Douglas, along with excerpts from the VT Stories Oral History Project (vtstories.org) and other found texts voiced live by the Ume Group actors. Production Credits: Conductor｜Jordan Rosin Musician｜Kate Douglas Actors｜Jorge Luna, Keelie Sheridan, Karina Sindicich, Kaitlyn Samuel Rosin, Yokko Producer / Director｜Jordan Rosin Community Partners｜Robert H. Leonard, VT History Council & the School of Performing Arts; Christina Miller, College of Liberal Arts & Human Sciences; Ren Harman, VT Stories Duration: 1 hr, 18 min Forms Used: Fluid Sculpture｜Perspectives｜ 3-Part Story｜If This Were A Dream｜3-Minute Poem This performance in featured in "Storytelling on Screen: An Online Playback Theatre Archive and Guidebook" by Jordan Rosin and Heidi Winters Vogel, which is available at http://hdl.handle.net/10919/104420.
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    World Playback Theatre's "New Beginnings"
    Vogel, Heidi Winters; Paranthaman, Para (Virginia Tech, 2021-01-17)
    On January 17, 2021, World Playback Theatre (facebook.com/worldplaybacktheatre), an international online troupe emerging from the 2019 Leadership certification program of the Playback Centre, gave a public performance on the theme of “New Beginnings.” Production Credits: Conductors｜Heidi Winters Vogel & Para Paranthaman Actors｜Pia Loriega, Roni Alperin, Radhika Jain, Pek Kuan Tai Musician | Linda Steuernagel Duration: 1 hr, 41 min Forms Used: Fluid Sculpture｜Transformational Fluid｜Pairs｜Perspectives｜Monologues｜4 Rooms｜Episodes | Talking Windows This performance in featured in "Storytelling on Screen: An Online Playback Theatre Archive and Guidebook" by Jordan Rosin and Heidi Winters Vogel, which is available at http://hdl.handle.net/10919/104420.