43-631: Artifact (American English) or artefact (British English) may refer to: Science and technology [ edit ] Artifact (error) , misleading or confusing alteration in data or observation, commonly in experimental science, resulting from flaws in technique or equipment Compression artifact , a loss of clarity caused by the data compression of an image, audio, or video Digital artifact , any undesired alteration in data introduced during its digital processing Visual artifact , anomalies during visual representation of digital graphics and imagery In
86-545: A cadenza . As a training tool for dancers, he developed a CD-ROM entitled Improvisation Technologies (1995), which in turn resulted in the piece Self Meant to Govern , the first part of the evening-length work, Eidos: Telos (1995) which used monitors to provide dancers with verbal cues that spurred movement responses. Forsythe has produced and collaborated on numerous installation works, including White Bouncy Castle (1997, in collaboration with Dana Caspersen and Joel Ryan), City of Abstracts (2000), Nowhere and Everywhere at
129-488: A 2016 album by South African hip hop record producer Anatii Artifakt , a compilation album by Better Than Ezra Artifakts (bc) , a 1998 album by Plastikman Different spellings and connotations for artefact or artifact Magic item , in fantasy, any object that has magical powers so powerful that it cannot be duplicated or destroyed by ordinary means Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
172-433: A 2018 digital collectible card game by Valve Artifact ( Magic: The Gathering ) , a card type in the trading card game Magic: The Gathering Music [ edit ] Artifacts (group) , a hip-hop duo from New Jersey Artifact (album) , a 2002 album by The Electric Prunes Artifacts (Beirut album) , 2022 Artifacts (Nicole Mitchell album) , 2015 Artifacts (Steve Roach album) , 1994 Artifact ,
215-552: A 2019 album by Swedish electronic musician Waveshaper "Artefact", a song by Phoenix from Alpha Zulu , 2022 "Artifact", a lyric in "Hits Different" from Midnights by Taylor Swift, 2022 Artefact #VII , a type of Theremin Other media [ edit ] Artifact (ballet) , 1984 ballet by William Forsythe Artifact , a 1985 science fiction novel by Gregory Benford Other uses [ edit ] Artifact Creek ,
258-696: A more conventional dance company. The public protested, but Forsythe decided to move on, and in 2004 the Frankfurt Ballet gave its last performance. After the closure of Ballet Frankfurt in 2004, he founded the Forsythe Company (2005) with the support of the states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main, and private sponsors and which he directed until 2015. The Forsythe Company, based in Dresden and Frankfurt am Main,
301-476: A news recommendation app for iOS and Android Arts and media [ edit ] Film and television [ edit ] Artifact (film) , a 2012 documentary film directed by Jared Leto under the pseudonym of Bartholomew Cubbins Artifacts (film) , a 2007 horror film The Artifact ( Eureka ) , a fictional object appearing in the TV series Eureka Games [ edit ] Artifact (video game) ,
344-432: A political experiment locally." The movement style itself drew inspiration from the work of George Balanchine. Forsythe was drawn to the musicality, speed, and lightness of Balanchine 's work. Forsythe's emphasis on space is evident in his big, long, and exaggerated movements. Very fast footwork, and shaped hands—often with the lines broken at the wrists—are at the base of his vocabulary. The arms are intended to lead many of
387-792: A stream in British Columbia, Canada Artifact Ridge , a mountain ridge in British Columbia, Canada Artifacting , a technique used on some older computers to generate color in monochrome modes by exploiting artifacts of analog television systems Learning artifact (education) , an object created by students during the course of instruction A relic , an object left behind by a prophet or other important religious figure See also [ edit ] All pages with titles containing Artifact All pages with titles containing Artefact All pages with titles beginning with Artifact All pages with titles beginning with Artefact Object (disambiguation) Artiifact ,
430-436: A variety of phenomena such as the underlying physics of the energy-tissue interaction as between ultrasound and air, susceptibility artifacts, data acquisition errors (such as patient motion), or a reconstruction algorithm 's inability to represent the anatomy. Physicians typically learn to recognize some of these artifacts to avoid mistaking them for actual pathology . In ultrasound imaging, several assumptions are made from
473-497: Is any error in the perception or representation of any information introduced by the involved equipment or technique(s). In statistics , statistical artifacts are apparent effects that are introduced inadvertently during analysis of data rather than by the process being studied. In computer science , digital artifacts are anomalies introduced into digital signals as a result of digital signal processing . In microscopy , visual artifacts are sometimes introduced during
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#1732779655967516-641: Is approximately equal to twice the percentage of citizens making more than $ 50,000 annually; if 60% of citizens make more than $ 50,000 annually, this would predict that the approval rating will be 120%. This prediction is a statistical artifact, since it is spurious to use the model when the percentage of citizens making over $ 50,000 is so high, and gross error to predict an approval rating greater than 100%. In medical imaging , artifacts are misrepresentations of tissue structures produced by imaging techniques such as ultrasound , X-ray , CT scan , and magnetic resonance imaging (MRI). These artifacts may be caused by
559-585: Is both postmodern and deconstructivist. Similar to the style of other postmodernists, Forsythe plays with the unexpected, moments of improvisation, and he emphasizes process within the creation of his works. The extreme positions involved in his ballets require a great deal of flexibility, and, in fact, most of his dancers possess that skill. Forsythe's early work in Stuttgart was created mostly for commission, and all of these early works were neoclassical. However, even in these early years, Forsythe states that he
602-900: The Pinakothek der Moderne in Munich in 2006, and in subsequent years, his company toured across Europe, appearing in Paris, Zürich, and London. In 2009 London held a monthlong "Focus on Forsythe" celebration that included events across the city, a traveling multimedia installation, and the performance of Nowhere and Everywhere at the Same Time , an elaborate installation piece at the Tate Modern , in which dancers weaved through hundreds of suspended pendulums. Forsythe's works developed during this time were performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in
645-429: The scrum software project management framework, documentation used for managing the project Archaeology [ edit ] Artifact (archaeology) , an object formed by humans, particularly one of interest to archaeologists Cultural artifact , in the social sciences, anything created by humans which gives information about the culture of its creator and users The Artefact (journal) , published annually by
688-600: The Archaeological and Anthropological Society of Victoria Computing [ edit ] Artifact (software development) , one of many kinds of tangible by-products produced during the development of software Artifact (enterprise architecture) , a separate component of enterprise architecture Virtual artifact , an object in a digital environment Artifact (UML) , a term in the Unified Modeling Language Artifact (app) ,
731-569: The City of Paris. Forsythe collaborated with different educators and media specialists in order to create new ways to document dance. His first online program was a computer application titled Improvisation Technologies: A Tool for the Analytical Dance Eye , which he created in 1994. This application was used by professional companies, dance conservatories, universities, postgraduate architecture programs, and secondary schools throughout
774-762: The City of Paris. Forsythe is known to teach at universities and cultural institutions as a guest artist. He became one of the Dance Mentors for the Rolex Mentor and Protege Arts Initiative in 2002. Forsythe was also given honorary degrees such as his Doctorate from The Juilliard School in New York City and was given the title Honorary Fellow at the Laban Centre for Movement and Dance in London. Awards received by Forsythe and his ensembles include
817-634: The Frankfurt Ballet, and the Paris Opera Ballet. In 1984 he was appointed director of the government-sponsored Ballet Frankfurt. Forsythe choreographed what is now looked at as his most famous ballet known worldwide. The ballet was titled In the Middle, Somewhat Elevated and was commissioned by Rudolf Nureyev starring Sylvie Guillem . In 2002, however, the Frankfurt government began to withdraw its support in order to cut costs and to favor
860-595: The Grand Prix de la SACD (2016) and the German theatre prize DER FAUST Lifetime Achievement Award (2020). Between 2015 and 2021, Forsythe was professor at the University of Southern California 's newly created Glorya Kaufman School of Dance and artistic advisor at the university's Choreographic Institute. Moreover, in 2015 The Forsythe Company changed its name to Dresden Frankfurt Dance Company and continued under
903-672: The Joffrey Ballet School in New York in 1969 and began his professional career as an apprentice with the Joffrey Ballet in 1971. From 1971 to 1973 danced with Joffrey Ballet II, often appearing in the parent company's productions. After this, he followed his then wife, Eileen Brady, joining the Stuttgart Ballet in 1973. Encouraged by the director, Marcia Haydée , Forsythe began choreographing works for
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#1732779655967946-965: The New York Dance and Performance "Bessie" Award (1988, 1998, 2004, 2007) and London's Laurence Olivier Award (1992, 1999, 2009). Forsythe has been conveyed the title of the Ordre des Arts et des Lettres (1999) by the government of France and has received the Hessian Cultural Prize (1995), the German Distinguished Service Cross (1997), the Wexner Prize (2002), the Golden Lion of the Venice Biennale (2010), Samuel H Scripps / American Dance Festival Award for Lifetime Achievement (2012),
989-621: The Same Time No. 2 (2013) and Black Flags (2014). Installation works by Forsythe have been shown at the Whitney Biennial (New York, 1997), Louvre Museum (2006), Tate Modern (London, 2009), ), MoMA (New York 2010), Venice Biennale (2005, 2009, 2012, 2014), Museum of Fine Arts, Houston (2020) and other locations. Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind , ARTANGEL (London), Creative Time (New York), and
1032-821: The Same Time No. 2 (2013), Black Flags (2014) and Underall (2017). Installation works by Forsythe have been shown at the Whitney Biennial (New York, 1997), Louvre Museum (2006), Pinakothek der Moderne in Munich (2006), 21_21 Design Sight in Tokyo (2007), Wexner Center for the Arts, Columbus (2009), Tate Modern (London, 2009), ), MoMA (New York 2010), Venice Biennale (2005, 2009, 2012, 2014), 20th Biennale of Sydney (2016), Museum Folkwang (2019), Museum of Fine Arts, Houston (2020) and Kunsthaus Zürich (2021) and other locations. Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind , ARTANGEL (London), Creative Time (New York), and
1075-545: The ballerina upright and helping her to maintain her balance. While Forsythe deconstructs the classical technique of ballet, he additionally challenges social norms and the representation of these norms within art. For example, in his work Behind the China Dogs , Albert Evans dances with lean and fluid movements—qualities typically viewed as feminine—as Helene Alexopaulos moves fiercely, and with muscular movements—qualities typically viewed as "masculine". In all of his work,
1118-714: The company and in 1976 he choreographed his first piece, Urlicht . He became the Stuttgart's resident choreographer in 1976 and that same year created his first piece for the company, Dream of Galilei . During the next seven years he created original works for the Stuttgart Ensemble, and for ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York, and San Francisco. In 1979, Forsythe choreographed and created his first full-length ballet called Orpheus . Forsythe left Stuttgart Ballet in 1980 to choreograph for other companies such as Munich State Opera Ballet , Nederlands Dans Theater ,
1161-414: The computer system to interpret the returning echoes. These are: echoes originate only from the main ultrasound beam (while there are side lobes and grating lobes apart from the main ultrasound beam); echoes returns to transducer after a single reflection (while an echo can be reflected several times before reaching the transducer); depth of an object relates directly to the amount of time for an echo to reach
1204-405: The dancers are prompted to extend their limbs past their kinespheres, stretching the arms and legs away from the torso. From a structural point of view, he likes to play with the expectations of the audience. In the second act of Artifact (1984), for example, he raises and lowers the curtains in the middle of the dance, in order to change drastically the environment on stage, and willingly lights
1247-412: The dancers. Most of Forsythe's pieces use electronic scores composed by Thom Willems . Forsythe and Willems both believe that music and dance are independent from each other, and that, even though they coincide in dynamics and length, neither of the two is there to illustrate the other. Their main concern is the inner structure of their works, so they leave the emotional interpretation to the audience or
1290-569: The directorship of choreographer Jacopo Godani . Forsythe believes that classical ballet is a language with rules to follow. However, although he is trained with these rules, he is much more interested in bending and eventually breaking these guidelines. His style is based on classical ballet, using traditional positions, but developing them to the extreme. Many of his pieces are danced on pointe, but he has used all kind of footwear, including work-boots, socks, and slippers, in order to explore different choreographic results. Forsythe's choreographic style
1333-715: The electrophysiological structure being studied. These artifact signals may stem from, but are not limited to: light sources; monitoring equipment issues; utility frequency (50 Hz and 60 Hz); or undesired electrophysiological signals such as EMG presenting on an EEG -, EP -, ECG -, or EOG - signal. Offending artifacts may obscure, distort, or completely misrepresent the true underlying electrophysiological signal sought. In radar signal processing , some echoes can be related to fixed objects ( clutter ), multipath returns, jamming , atmospheric effect ( brightband or attenuation ), anomalous propagation , and many other effects. All those echoes must be filtered in order to obtain
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1376-475: The integration of ballet and visual arts, which displayed both abstraction and forceful theatricality, his vision of choreography as an organizational practice has inspired him to produce numerous installations, films, and web-based knowledge creation, incorporating the spoken word and experimental music. William Forsythe was born in New York in 1949, but only started dancing seriously in his later teenage years in college. He followed his grandfather musically as he
1419-421: The listener. William Forsythe is also known for his work in combining the choreographic and visual arts. He has produced and collaborated on numerous installation works, which he refers to as Choreographic Objects, including White Bouncy Castle (1997, in collaboration with Dana Caspersen and Joel Ryan), City of Abstracts (2000), Scattered Crowd (2002), The Fact of Matter (2009), Nowhere and Everywhere at
1462-511: The movements within this technique, unlike the more classical teachings of moving the arms and legs simultaneously. Weight change plays a major part in his work, which is especially evident in his partner-work. The dancers stretch and pull each other far from their center-lines, with the idea being that each will pull the other so far from center that a counterbalance is created between them. This element of counterbalance contrasts with more classical partnering techniques that mainly focus on keeping
1505-580: The position, velocity and type of the real targets that may include aircraft, and weather. Artifact (ballet) William Forsythe (born December 30, 1949) is an American dancer and choreographer formerly resident in Frankfurt am Main , Germany, and now based in Vermont. He is known for his work with the Ballet Frankfurt (1984–2004) and The Forsythe Company (2005–2015). Recognized for
1548-419: The processing of samples into slide form. In econometrics , which focuses on computing relationships between related variables , an artifact is a spurious finding, such as one based on either a faulty choice of variables or an over-extension of the computed relationship. Such an artifact may be called a statistical artifact . For instance, imagine a hypothetical finding that presidential approval rating
1591-536: The repertoire of virtually every major ballet company in the world, including Mariinsky Ballet , New York City Ballet , San Francisco Ballet , National Ballet of Canada , Dresden Semperoper Ballet , England's Royal Ballet , and the Paris Opera Ballet . Throughout his career, Forsythe has experimented with a freer approach to choreography in which the dancers are allowed to make choices about order and timing comparable to those made by musicians playing
1634-524: The title Artifact . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Artifact&oldid=1255813298 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Artifact (error) In natural science and signal processing , an artifact or artefact
1677-451: The transducer (while an echo may reflect several times, delaying the time for the echo return to the transducer); speed of ultrasound in human tissue is constant, echoes travel in a straight path. and acoustic energy of an echo is uniformly attenuated. When these assumptions are not maintained, artifacts occur. In medical electrophysiological monitoring, artifacts are anomalous (interfering) signals that originate from some source other than
1720-478: The world, and it was the inspiration for his later application Synchronous Objects . Synchronous Objects was launched in 2009, and "One Flat Thing" was reproduced on a digital online score developed by Ohio State University . The process was revealed, and people began to discover that the choreographic scores and the principles of choreography itself could be applied to other fields. After the success of Synchronous Objects came Forsythe's Motion Bank . Motion Bank
1763-474: Was a violin prodigy. Forsythe played bassoon , violin, flute, and sang in choruses. He also choreographed for his high school's musicals. He began his training in Florida and later continued to dance with Joffrey Ballet . It was while attending college at Jacksonville University , that Forsythe began his formal training as a dancer with Nolan Dingman and Christa Long . William Forsythe began studying at
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1806-411: Was about half the size of the Frankfurt Ballet, but nearly all of its dancers were from that company. Forsythe continued to present his vision to a wide audience. With bases in Frankfurt and Dresden and supported by both state and private funding, the Forsythe Company made its debut in 2005 with the premiere of Forsythe's Three Atmospheric Studies . A major retrospective of Forsythe's work was presented at
1849-463: Was criticized for creating work that was too modern. As his career progressed Forsythe shifted the focus to the methods of his working, which included space and dynamics. Forsythe's choreographic style often includes political themes. He believes that the rehearsal space is inherently political because each individual lives their politics through their everyday behaviors. In an interview Forsythe said, "I wasn't about to go into politics, but I could perform
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