Dance Data Cognition and Multimodal Communication

Cover
Half Title
Series Page
Title Page
Copyright Page
Contents
Illustrations
Contributors
Introduction
1 Dance data and multimodality
2 Background of this volume
3 What is dance data?
4 Structure of this volume
Acknowledgements
Note
References
Part I: Performance-as-Research: Dance data from the artists' perspectives
1. Negotiating deliberate choice-making: Insights from an interdisciplinary and multimodal encounter during the making of a New Contemporary Dance
PRELUDE
OVERTURE
1.1 Contemporary dance: Negotiating between an inherited past and the evolving, subjective body logics of the present
1.1.1 Collaborations in contemporary dance-making: The contemporary dancer as proud co-author in a creative process
INTERMEZZO
1.2 An arts and science encounter
1.3 Phase One: Introducing BLM, Treatise, and VR
1.3.1 BLM: A "new" verbal language for a dance
1.3.1.1 BLM: Dodging mode (DM)
1.3.1.2 BLM: Scanning mode (SM)
1.3.2 A graphic music score to dance by Cornelius Cardew's Treatise
1.3.2.1 Treatise as a compositional map for a dance
1.3.3 Placing Treatise into Virtual Reality (VR)
1.3.3.1 Reinterpreting Treatise according to the dancers' body logics: Re-scoring after BLM and VR
1.4 Phase Two: Building a final movement study for a dance
1.5 Results and discussion: Reflections from the arts' perspective and additional artefacts of the arts and sciences collaboration
1.6 Conclusion and final thoughts
1.7 Rights and permissions
Acknowledgements
Notes
References
2. Dance | Data | Storytelling
2.1 Introduction
2.2 Case studies
2.3 Discussion
2.3.1 Infographics and choreographic thinking
2.3.2 Embodied filmmaking
2.3.3 Storytelling
2.4 Final thoughts
Notes
References
3. Enabling multimodal interaction in mixed-abled dance: Insights into creating highly accessible teaching tools for inclusive cultural work
3.1 Introduction
3.2 Research objective
3.3 Research design and research methods
3.4 Research Phase I
3.4.1 Step 1: Systematic literature review
3.4.2 Step 2: Collection and selection of tools to be tested
3.4.3 Step 3: First research residency Athens - data collection
3.4.4 Example
3.4.5 Step 4: Development of selected tools
3.4.6 Step 5: Follow-up research residencies Greece and Germany - tool testing
3.5 First results
3.6 Further considerations and outlook
Notes
References
Part II: Dance documentation and dance scores
4. Recording "Effect": A case study in technical, practical, and critical perspectives on dance data creation
4.1 Introduction
4.2 Process documentation: Tracking change over time with live-annotation
4.3 Motion capture: Technical solutions, data accessibility, and modes of dissemination
4.4 Dance data: Building a framework for the imaginary
4.5 Summary and conclusion
Notes
References
5. Digital-born artworks and interactive experience: Documentation and archiving
5.1 Introducing the research journey
5.2 The embodied and the ephemeral: As you see it, so it has gone
5.3 Analysis as documentation
5.4 Accounting for audience experience
5.5 Are we allowed in the museum?
Notes
References
6. Dance scoring and en-action as a creative tool for dance documentation
6.1 Introduction
6.2 El Chimbangueles and documentation
6.3 Digital media, preservation, and performance
6.4 Conclusion
References
7. Terpsicore - dance and performing arts archive
7.1 Terpsicore, dance, and memory
7.2 Terpsicore and other archives
7.3 How may we archive?
7.4 A cartography of dance
Funding
Notes
References
Part III: Computational dance data: Between the real and the virtual
8. Augmented seeing and sensing
References
9. Motion capture and the digital dance aesthetic: Using inertial sensor motion tracking for devising and producing contemporary dance performance
9.1 Introduction
9.2 Real-time motion capture and augmented realities
9.3 The "infinitely malleable" body versus the "highly technical" body
9.4 Malta, July 2018
9.5 Lesson learned
Notes
References
10. Capturing and visualizing 3D dance data: Challenges and lessons learnt
10.1 Introduction
10.2 Context
10.3 Capturing and visualising 3D dance data
10.3.1 Challenges of capturing 3D dance data
10.3.1.1 Nature of the content
10.3.1.2 Context of the capture
10.3.1.3 Purpose of the capture
10.3.1.4 Use cases in the BlackBox project
10.3.2 Challenges of visualising 3D dance data
10.3.2.1 Visualisation of point-cloud data
10.3.2.2 Visualisation of skeleton data
10.3.2.3 Use cases in the BlackBox project
10.4 Conclusions
10.5 Rights and permissions
Funding
Notes
References
Part IV: The brain's experience of dance
11. The embodied neuroaesthetics of watching dance
11.1 A neuroscientific perspective
11.1.1 Neural correlates of watching others in action
11.1.2 Neurophysiological changes resulting from dance training
11.2 Empirical (neuro)aesthetics of dance
11.2.1 Impact of Gestalt principles and movement features on dance appreciation
11.2.2 Symmetry
11.2.3 Familiarity
11.2.4 Synchrony
11.2.5 Other factors influencing enjoyment of performative dance
11.2.6 The role of music and auditory stimulation in dance appreciation
11.2.7 Event-sharing and the social experience of dance
11.2.8 The future of embodied aesthetics of watching dance
11.2.9 Robotics
11.2.10 Virtual reality
11.2.11 Mobile neuroimaging
11.3 Concluding remarks
Acknowledgements
References
12. Dancing neurons: Common brain activity fMRI analysis of the cerebral phenomena behind dance perception
12.1 Introduction
12.1.1 Dance: A distinct form of movement
12.1.2 Dance as a dynamic laboratory
12.1.3 The present study
12.2 Materials and methods
12.2.1 Participants
12.2.2 Stimuli
12.2.3 Procedure
12.2.4 Data analysis
12.3 Results
12.3.1 Discussion
12.4 Conclusion
Acknowledgements
References
13. "I see something and I like it": Unveiling a choreographer's decision-making process using quantitative and qualitative methods
13.1 Introduction
13.2 Methods
13.2.1 Participants
13.2.2 Data collection
13.2.3 Methodology: Non-automatic video processing and analysis
13.2.4 Classification of the choreographer's behaviour
13.3 Results of the quantitative analysis
13.3.1 "Exploitation" corresponds to less than 20% of the visits
13.3.2 Most movement units are "exploited" very few times
13.4 Interviewing the choreographer
13.4.1 The choreographer reports that "exploitation" generates new movements
13.4.2 The choreographer detects "glitches" to be improved
13.4.3 Focus on specific movement details
13.4.4 Giving specific instructions about movement units
13.4.5 Demonstrations as variations for the dancer to experiment
13.4.6 The need to test movements on the choreographer's body
13.4.7 Mirroring the dancer's movements while reviewing them
13.5 Conclusions
References
Part V: Dance expertise and cognition
14. Dance expertise, embodied cognition, and the body in the brain
14.1 Introduction
14.2 Dancers as cognitive (memory) experts
14.3 The body in embodied cognition
14.4 Body representations
14.5 Phantoms meet body schema
14.6 Dance and disability
14.7 Conclusions
References
15. What makes dancers extraordinary? Insights from a cognitive science perspective
15.1 Introduction
15.2 Case study 1: Composition in real time and social cognition
15.2.1 Related work
15.2.2 Study description and methods
15.2.3 Qualitative results and discussion
15.3 Case study 2: Dance-marking and distributed cognition
15.3.1 Methods
15.3.1.1 Data
15.3.1.2 Annotation method
15.3.2 Results and discussion
15.3.2.1 Articulator and movement reduction
15.4 Case study 3: Vocalisations and touch in dance practise
15.4.1 Methods
15.4.1.1 Corpus architecture
15.4.1.2 Annotation work
15.4.2 Results and discussion
15.4.2.1 Descriptive statistics
15.4.2.2 Qualitative analysis
15.4.3 Results
15.5 Final results and discussion
15.6 Author contributions
15.7 Rights and permissions
Acknowledgements
Notes
References
16. The role of dance experience, visual processing strategies, and quantitative movement features in recognition of emotion from whole-body movements
16.1 Background
16.2 Methods
16.2.1 Participants
16.2.2 Stimuli and methods
16.2.2.1 Experiment builder
16.2.2.2 Dance stimuli
16.2.2.3 Eye-tracking
16.2.3 Procedure
16.3 Results
16.3.1 Emotion recognition analysis
16.3.2 Response bias
16.3.3 Visual-fixation analyses
16.3.4 Exploration of factors influencing sensitivity
16.3.5 Exploratory movement feature analysis
16.4 Discussion
16.4.1 Sensitivity to emotion recognition
16.4.2 Allocation of visual attention and processing strategies
16.4.3 Laban qualities of movement and perception of emotion
16.5 Conclusions
References
Part VI: Cognitive metaphor and gesture in dance and theatre
17. Unpeeling meaning: An analogy and metaphor identification and analysis tool for modern and post-modern dance, and beyond
17.1 Introduction
17.2 Background and context
17.3 Concentric circles model (CCM)
17.3.1 Circle 1: CORE (dance unit)
17.3.2 Circle 2: ANALOGICAL FETAURES (because...)
17.3.3 Circle 3: INTERPRETATIONS (...reminds me of... triggered associations)
17.3.4 Circle 4: LOCAL CONTEXT
17.3.5 Circle 5: BROAD CONTEXT - personal and socio-cultural
17.3.6 Beyond the circles: ADDITIONAL ANALOGICAL ASSOCIATIONS
17.3.7 CCM in dance production: Stimulus idea as CORE
17.3.8 CCM discussion
17.4 Discussion of background theory
17.5 Concluding discussion
Acknowledgements
Notes
References
18. Understanding non-verbal metaphor: A cognitive approach to metaphor in dance
18.1 Introduction
18.2 Study 1: Expert performance in mapping dance movement to emotion concepts
18.2.1 Methods
18.2.1.1 Participants
18.2.1.2 Stimuli and study design
18.2.1.3 Coding procedure
18.2.2 Results
18.3 Discussion
18.4 Study 2: Non-expert performance in mapping dance movement to emotion concepts
18.4.1 Methods
18.4.1.1 Participants
18.4.1.2 Stimuli and procedure
18.4.2 Results and discussion
18.5 Conclusions
Notes
References
19. Study on hand movements accompanied during the description of dance appreciation
19.1 Introduction
19.2 Methods
19.2.1 Participants
19.2.2 Stimuli
19.2.3 Procedures
19.2.4 Materials
19.2.5 Measurements
19.2.6 Statistical analyses
19.3 Results
19.3.1 Structure category
19.3.2 Focus category
19.3.3 StructureFocus concatenation category
19.3.4 Function category
19.3.5 Type category
19.4 Discussion
Acknowledgements
References
20. Reduction of gesticulation and information patterning strategies in acted speech
20.1 Introduction
20.2 Theoretical frameworks
20.2.1 Gesture
20.2.2 Prosodic and information structures
20.3 Methodology
20.3.1 Dataset
20.3.2 Annotation procedure
20.3.3 Synchronisation parameters
20.3.4 Interrater agreement
20.3.4.1 Prosody
20.3.4.2 Gesture
20.4 Synchronisation and patterning strategies
20.4.1 Spontaneous speech correlating patterns
20.4.1.1 Gesture units
20.4.1.2 Gesture phrases
20.4.2 Reduction of information patterning strategies in acted speech
20.4.2.1 Gesture-level differences
20.4.2.2 Speech-level differences
20.4.2.3 Interruption vs. complexity
20.5 Conclusion
20.6 Transcription conventions
Notes
References
21. Lines of experience: Towards a research method
21.1 Lines in other fields
21.2 Translating linear qualities
21.3 Lines entangle theories
References
Note about Funding
Author Index
Subject Index