Dance in the World of Data and Objects

Raheb, Katerina El; Ioannidis, Yannis

doi:10.1007/978-3-642-40050-6_17

Cited by 15 publications

(21 citation statements)

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“…We mentioned previously the fact that the human reader subconsciously "searches" for familiar patterns to read what's in the score [10]. What Figures 3, 4 and 5 have in common is the motif shown in Figure 6.…”

Section: Examplementioning

confidence: 95%

“…In addition, those movements are treated as "entities", units of a dance tradition, with their own "meaning" within a particular dance context. In the following paragraph we are attempting to organize these layers of knowledge from a semantic point of view [2] [10]. Most important, what these studies [18] show is that what is an important movement segment for a specific dance culture, could be completely meaningless, or inexistent in another.…”

Section: Dance Is Not a Universal Languagementioning

confidence: 99%

“…The emerging question here is that if humans cannot read, or moreover create a Labanotation score without having any knowledge of the particular dance style, how can we create an algorithm to do so? Dancers can read a notation score because they see something recognizable [10] [26] We need to decode the process that we follow to read this information, to formally express it in a computer language and eventually reproduce this kind of artificial intelligence.…”

Section: Dance Notation Is a Universal Written Language For Movement mentioning

confidence: 99%

“…It is no question why many current efforts of studying movement, dance and choreography are developed in collaboration with specific choreographers trying to find the emerging patterns of individual creators [3] [14][22] [29] [31]. On the other hand, documenting dance is also a digitization process, where the creation of data is as important as making these data available, accessible, comparable and subject to further analysis and computation [10] [16]. The question we are addressing in this paper is how semantics underlying a notational system, knowledge of choreological movement analysis, and existing conceptualization of dance practice, can be related to each other.…”

Section: Introductionmentioning

confidence: 99%

“…Nevertheless, the question of developing the tools and methodologies to study the movement of dance either as part of an art form, a social phenomena or a cultural expression, in a systematic, universal manner is not a question of the digital age exclusively [10] [26]. It is has been a persistent question for anthropologists, sociologists, and ethno-choreologists for many years.…”

Section: Introductionmentioning

confidence: 99%

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From Dance Notation to Conceptual Models

Raheb

Ioannidis

2014

Proceedings of the 2014 International Workshop on Movement and Computing

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In this paper, we discuss the key elements of a semantic dancemove representation model based on rule-based extractions of logical descriptions from existing Labanotation scores. This is part of a larger effort on representing and analyzing dance movement based on choreological approaches and notation systems. The main goal is to develop a Knowledge-Based System that provides functionality (a) to search by movement concepts and characteristics in a meaningful way for dance practitioners, who may not necessarily be specialists in notation or analysis, and (b) to link different manifestations of movement recordings, especially Labanotation scores. We use examples to highlight the primary and abstract representation model and outline the main challenges in interpreting and segmenting a Labanotation score to transform it in a semi-automated way into a sequence of meaningful recognizable movement concepts. We are not aiming to develop an alternative notation system, but to construct a model and methodology to access existing scores (in digital form) and exploit the underlying information about movement for further computational analysis. We take into account some existing choreological approaches, which use an analogy between dance structure analysis and morphological language studies, and identify multiple levels of describing dance and movement. Finally, we discuss limitations of our approach as well as potential uses of the "search by movement" idea and outline some theoretical observations that emerged during this work.

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Section: Examplementioning

confidence: 95%

Section: Dance Is Not a Universal Languagementioning

confidence: 99%

Section: Dance Notation Is a Universal Written Language For Movement mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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