Fabricating Performance: Reciprocal Constructs of Dance Notation

Westby, Syuko Kato; Glynn, Ruairi

doi:10.1007/s00004-017-0353-9

Cited by 4 publications

(2 citation statements)

References 7 publications

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“…The goal of the study is to use computer technology to reduce the amount of manual intervention in the music choreography process. People have gained a lot of valuable experience in the matching model of motion and music features [ 28 ] up until now. In terms of choreography, a matching model of motion and musical features is developed based on musical emotion and sporting style.…”

Section: Methodsmentioning

confidence: 99%

[Retracted] Music Choreography Algorithm Based on Feature Matching and Fragment Segmentation

Wang

2022

Computational Intelligence and Neuroscience

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Choreography is an art form in and of itself. Because music and dance have always appeared at the same time throughout human history, music has had a significant influence on dance arrangement. It is important to arrange appropriate dance movements based on the music pieces chosen by users when creating choreography. This paper proposes a mixed density network-based music choreography algorithm in response to the current state of music choreography. The algorithm should be able to convert motion and music signals into a high-level semantic meaning that is compatible with human cognition, compare the degree of matching, and arrange the dance based on the music and motion segments that match. Furthermore, the consistency and authenticity of the movements in the dance created in this paper have been improved. Users’ subjective feedback indicates that the choreography results in this paper are more closely aligned with the music. In the field of music choreography, it has some practical utility.

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Section: Methodsmentioning

confidence: 99%

[Retracted] Music Choreography Algorithm Based on Feature Matching and Fragment Segmentation

Wang

2022

Computational Intelligence and Neuroscience

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“…Architects have collaborated with dancers and choreographers to translate movement into notation systems through analogue-digital workflows. In this way, the design of an architectural form or spatial arrangement is often materialised through rigid and static prototypes (Kato and Glynn 2017;Salazar Sutil 2015). Pacher's work takes a performative approach to architecture and proposes working with our sense of movement and its ability to affect how space is perceived and enacted by actions of the body.…”

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confidence: 99%

Choreographed Soft Morphologies: exploring new ways of ideating soft architecture through material elasticity

Castán

Suárez

2018

TdD

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This research aims to contribute to the current field of architectural design by offering evidence of how a collaborative and embodied approach to soft architecture can inform a new physical-digital design process. Current design technologies (e.g. sensors, 3D scanners, procedural modelling software), together with the use of the body as a source for designing a space, offer new methods and tools for designing architecture (Hirschberg, Sayegh, Frühwirth and Zedlacher 2006). However, the potential for experiencing and digitally capturing a soft and elastic material interaction through the body as a dynamic system capable of informing soft architectural design has not yet been widely explored. By using the felt experience as a tool for design, we allow the material to express its qualities when activated by the body, revealing its form instead of it being imposed from outside (DeLanda 2015). Taking an embodied approach used in interaction design and fashion design (Loke and Robertson 2011; Wilde, Vallgårda, and Tomico 2017), this research proposes a hybrid method to explore a textile-body ontology as an entity that has the potential to design a space, along with the use of motion capture technology in an effort to re-connect the experiential (the body) with the architecture (the space). Through a custom-made interface, made of soft and hard materials, we explored the dynamic and spatial qualities of material elasticity through choreographed body movements. The interface acts as a deformable space that can be shaped by the body, producing a collection of form expressions, ranging from subtle surface modifications to more prominent deformations. Such form-giving processes were captured in real time by three Kinect sensors, offering a distinct digital raw material that can be conveniently manipulated and translated into architectural simulations, validating the method as a new way to inform soft architectural design processes. The findings showed that: 1) the direct experience of collaboratively interacting with a soft and elastic interface allows the identification of the dynamic qualities of the material in relation to oneself and others, facilitating an immediate spatial meaning-making process; 2) exploring the design of a soft and elastic space through choreography and motion capture technology contributes to the creation of augmented relational scales across physical and digital realms, proposing a new hybrid design method; 3) the soft and elastic interface becomes a new entity when shaped by the body (textile-body ontology) giving the opportunity for a variety of formal expressions and offering a source of digital raw material for architectural design.

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The Principle of Sharpening (II): Crystallization. Development and Advancement of Musical Shapes

Heister

2021

Music and Fuzzy Logic

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Fabricating Performance: Reciprocal Constructs of Dance Notation

Cited by 4 publications

References 7 publications

[Retracted] Music Choreography Algorithm Based on Feature Matching and Fragment Segmentation

[Retracted] Music Choreography Algorithm Based on Feature Matching and Fragment Segmentation

Choreographed Soft Morphologies: exploring new ways of ideating soft architecture through material elasticity

The Principle of Sharpening (II): Crystallization. Development and Advancement of Musical Shapes

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