Fundamentals of physical and technical training for qualified athletes specializing in race walking at the first and second stages of long- term improvement

Based on the generally accepted methodology of the training process for an athlete who specializes in race walking, where the main exercise is a competitive one, namely race walking, which is performed in different zones of intensity, the improvement of technical skills should be carried out first of all along with the development of the special physical fitness. And this is one of the most important directions in the optimization of the training process for qualified race walkers, mainly at the second stage of long-term training. The process of teaching the technique and its further improvement should take into account the relevant rules even at the initial stages of long term training, that means at the first stage. The performance rates dynamics of race walkers in the 20 km walk at the Olympic Games, World Championships and Championships of Ukraine during the period of 1991-2021 was analyzed. It was determined that the performance of race walkers in the 20 km walk improved by 7-10%. Ukrainian athletes, who performed at the Olympics and World Championships, took places in the 2nd, 3rd, 4th and 5th dozen of participants. The main direction in the process of the physical preparedness and technical skills formation is not only the improvement in strength, speed, agility and endurance, but the participation of the best race walkers at the championships of Ukraine is also necessary. Such participation is mandatory for showing the qualification standards, which make it possible to participate at the top athletics forums of the year. In the process of training race walkers in the 20 km walk, it is necessary to apply the training programs, including those exercises, which are adequate in terms of kinematic and dynamic characteristics to the competitive exercise and exceed physical abilities of race walkers. This should be applied for both men and women.

Pengenalan Ras Berdasarkan Hidung Dan Mulut Menggunakan Gray Level Co-Occurrence Matrix

<p class="Abstract">Ras dapat digunakan untuk mengkategorikan manusia dalam populasi atau kelompok besar. Oleh karena itu, pengenalan ras dapat berguna untuk mempermudah dalam mengidentifikasi seseorang dan membantu dalam mempersempit lingkup pencarian. Penggunaan wajah sebagai dasar pengenalan ras mengarahkan penelitian pada identifikasi penggunaan bagian wajah yang berpengaruh signifikan terhadap kinerja pengenalan ras. Pada penelitian ini bagian wajah berupa hidung dan mulut diidentifikasi untuk digunakan sebagai dasar pengenalan ras Mongoloid, Kaukasoid, dan Negroid. Ciri <em>Gray Level Co-occurrence Matrix</em> (GLCM) diekstrak dari bagian hidung dan mulut untuk selanjutnya diklasifikasi menggunakan Random Forest. Hasil eksperimen menunjukkan bahwa penggunaan ciri gabungan dari hidung dan mulut mampu menghasilkan kinerja sistem yang paling baik jika dibandingkan penggunaan hidung atau mulut saja.</p><p class="Abstract"> </p><p class="Abstract"><strong><em>Abst</em></strong><strong><em>r</em></strong><strong><em>act</em></strong></p><p align="center"><em>Race can be used to categorize humans in populations or large groups. Therefore, racial recognition can be useful to make it easier to identify a person and help narrow the scope of the search. The use of faces as a basis for race recognition directs research on identifying the use of facial parts that significantly influence the performance of race recognition. In this study, the face parts of the nose and mouth were identified to be used as a basis for the recognition of the Mongoloid, Caucasoid, and Negroid races. The Gray Level Co-occurrence Matrix (GLCM) feature is extracted from the nose and mouth to be classified using Random Forest. The experimental results show that the use of combined features of the nose and mouth is able to produce the best system performance compared to the use of the nose or mouth only.</em></p><p class="Abstract"> </p>

Staging Intersectionality

This essay follows the making of a queer of colour aesthetic space in the form of a music video entitled Brother, within a largely homogenous white University. The video places white heteronormativity on the periphery whilst intersectional brown bodies take the centre. It inverts racist and fetishistic tropes in music video culture and reverses the white male gaze. The making of the video created a small brown island in a sea of white as a vision of a future brown space protected from the ubiquitous, ambivalently festishizing white gaze; a gaze that projects its own narrative onto bodies of colour. It puts forward a thesis of racial agency, whereby the performance of “race” is scripted by the person of colour and not provoked by the construct of whiteness.

Blacksound

This chapter considers the relationship between philosophy, music, and race through a theory of Blacksound. Blacksound is the sonic and embodied legacy of blackface performance as the origin of popular music, entertainment, and culture in the United States. As a hermeneutic tool, Blacksound is an epistemology designed to historicize and redress how we conceive the formation of race and property laws throughout the nineteenth century via aesthetics. In particular, this tool analyses the construction, consumption, and erasure of black people and blackness out of blackface minstrelsy—the first original form of popular entertainment in North America. Blacksound is an open concept that challenges fixed notions of intellectual property by pointing to the role that the performance of race and the making of racism in popular music plays in copyright laws that have developed throughout the nineteenth century.

Race, Blacksound, and the (Re)Making of Musicological Discourse

This article highlights practices of exclusion embedded in musicology—especially in relation to race, racialized people, and race relations—in order to rupture its constructed borders and decentralize the normative systems that have come to shape the discipline, its membership, and its discourses. To this end, I define and apply the concept of Blacksound—the sonic and embodied legacy of blackface performance as the origin of all popular music, entertainment, and culture in the United States. Blackface emerged as the first original form of US popular music during chattel slavery, and it helped to establish the modern music industry during the time in which Guido Adler began to define Musikwissenschaft (1885). Blacksound, as the performative and aesthetic complement to blackface, demonstrates how performance, (racial) identity, and (intellectual) property relations have been tethered to the making of popular music and its commercialization since the early nineteenth century. Blacksound also reveals how practices of exclusion that are germane to musicological discourse are connected to the racist practices and supremacist systems that defined society and popular culture throughout the nineteenth century. To redress the impact of these customs, this article defines and employs Blacksound as a means of placing (the performance of) race, ethnicity, and their relationship with other forms of identity at the center of the way we approach and select our subject matter and create musicological epistemologies within the development of music studies.