Synchronous Objects for One Flat Thing, reproduced

Palazzi, Maria Laura; Drozd, Jane; Fry, Joshua; Quintanilha, Melissa; Reed, Anna; Schroeder, Benjamin; Skove, Lily; Thorndike, Ashley Horace; Twohig, Mary; Ahlqvist, Ola; Chan, Peter; Shaw, Norah Zuňiga; Cressie, Noel; Turk, Stephen; Johnson, Jill; Roman, Christopher; Waterhouse, Elizabeth; deLahunta, Scott; Haggard, Patrick; Noë, Alva; Forsythe, W. E.; Lewis, Matthew; Albright, Beth; Andereck, Michael; Bhatawadekar, Sucheta; Ban, Hyowon; Calhoun, Andrew

doi:10.1145/1667265.1667306

Cited by 11 publications

(11 citation statements)

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“…Examples include methods based on video analysis (Camurri, Mazzarino, Ricchetti, Timmers, & Volpe, 2004;Guedes, 2006;Jensenius, 2006), motion capture data (Dahl, 2000;Palazzi et al, 2009;Shiratori, Nakazawa, & Ikeuchi, 2003;Wanderley, Vines, Middleton, McKay, & Hatch, 2005) and sensing devices (e.g., Clynes, 1995;Enke & Borchers, 2006;Yamamoto & Fujinami, 2008). However, the recording techniques impose several constraints.…”

Section: T He Idea T H At Dance and Music Are Closelymentioning

confidence: 99%

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

Naveda

Leman

2010

Music Perception

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Music Perception vo lu m e 28, issue 1, pp. 93-111, issn 0730-7829, electronic issn 1533-8312 © 2010 by t h e regents o f t h e university o f california. all rights reserved. please d i r e c t all requests f o r permission to p h oto c o p y o r r e p ro d u c e a rt i c l e c o n t e n t t h ro u g h t h e university o f california press's rights a n d permissions w e b s i t e , h t t p ://www.ucpressjournals.com/reprintinfo.asp. doi:10. 1525/mp.2010.28.1.93 Topological Gesture Analysis (TGA) 93 luiz naveda & marc leman Ghent University, Ghent, Belgium spatiotemporal gestures in music and dance have been approached using both qualitative and quantitative research methods. Applying quantitative methods has offered new perspectives but imposed several constraints such as artificial metric systems, weak links with qualitative information, and incomplete accounts of variability. In this study, we tackle these problems using concepts from topology to analyze gestural relationships in space. The Topological Gesture Analysis (TGA) relies on the projection of musical cues onto gesture trajectories, which generates point clouds in a three-dimensional space. Point clouds can be interpreted as topologies equipped with musical qualities, which gives us an idea about the relationships between gesture, space, and music. Using this method, we investigate the relationships between musical meter, dance style, and expertise in two popular dances (samba and Charleston). The results show how musical meter is encoded in the dancer's space and how relevant information about styles and expertise can be revealed by means of simple topological relationships.

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Section: T He Idea T H At Dance and Music Are Closelymentioning

confidence: 99%

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

Naveda

Leman

2010

Music Perception

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“…The mean results across the ten dance sequences synthesized from each differently parameterized representation are presented in Table 2. Figure 10 exemplifies the comparison between an excerpt of the captured sequence of Charleston (straight line), and synthesized sequences of Charleston with (dashed line) or without (dotted line) variability, extracted from the trajectories of the right hand joint (joint 19), for all considered metric resolutions (see Table 1). The "original" sequence is unique per dance style and thus only evaluated once for each style.…”

Section: Numeric Resultsmentioning

confidence: 99%

“…For example, the lack of systematic representation of all body articulations in time (e.g., the first and third graphs [16,17] in Figure 2), the lack of representation of cross modal interactions with music and other modalities (e.g., fourth and fifth graphs [18,19] in Figure 2), the absence of representations of the variability of the dance gesture (e.g., the first, second and third graphs [16,17,20] in Figure 2) and the lack of structural models, at some of the representations in Figure 2, indicate how the representation of dance is often complex. Thus, in order to render expressive beat-synchronous dance movements we needed to extend the existing representations into a novel spatiotemporal model (see Section 2.2) that would consider all of the following: (i) the possibility of resynthesis of original motions; (ii) encoding motion trajectories and musical time (meter) in the same representation; (iii) accounting for the variability of dance sequences; (iv) support of multi-modal parameterizations for assessing different hypotheses.…”

Section: Representation Of Metric Levels In Musical Timementioning

confidence: 99%

A parameterizable spatiotemporal representation of popular dance styles for humanoid dancing characters

Oliveira

Naveda

Gouyon

et al. 2012

J AUDIO SPEECH MUSIC PROC.

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“…Contemporary technologies are those that can be found in the informational era, with the advent of advanced tools. Although the use of technology for dance has been explored since the 1980s, the main focus has been on how to support dance notation (e.g., Labanotation [8] to improve the choreography of dance performances [23], or to provide aesthetic visualizations for performances (e.g., Palazzi & Shaw [52]).…”

Section: Dance Notationmentioning

confidence: 99%

Designing for Ballet Classes

Trajkova

Cafaro

Dombrowski

2019

Proceedings of the 2019 on Designing Interactive Systems Conference

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Dancer-teacher communication in a ballet class can be challenging: ballet is one of the most complex forms of movements, and learning happens through multi-faceted interactions with studio tools (mirror, barre, and floor) and the teacher. We conducted an interview-based qualitative study with seven ballet teachers and six dancers followed by an open-coded analysis to explore the communication challenges that arise while teaching and learning in the ballet studio. We identified key communication issues, including adapting to multi-level dancer expertise, transmitting and realigning development goals, providing personalized corrections and feedback, maintaining the state of flow, and communicating how to properly use tools in the environment. We discuss design implications for crafting technological interventions aimed at mitigating these communication challenges.

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Synchronous Objects for One Flat Thing, reproduced

Cited by 11 publications

References 0 publications

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

A parameterizable spatiotemporal representation of popular dance styles for humanoid dancing characters

Designing for Ballet Classes

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