By Jean-Paul Laumond, Naoko Abe
How and why to jot down a stream? who's the author? who's the reader? they are choreographers operating with dancers. they're roboticists programming robots. they're artists designing cartoons in desktop animation. In all such fields the aim is to specific an goal a few dance, a selected movement or an motion to accomplish, when it comes to intelligible sequences of trouble-free activities, as a song rating that might be dedicated to movement illustration. regrettably there's no common language to jot down a movement. movement languages stay jointly in a Babel tower populated by means of biomechanists, dance notators, neuroscientists, laptop scientists, choreographers, roboticists. each one group handles its personal recommendations and speaks its personal language.
The booklet money owed for this range. Its starting place is a different workshop held at LAAS-CNRS in Toulouse in 2014.
Worldwide representatives of varied groups met there. Their problem used to be to arrive a mutual knowing permitting a choreographer to entry robotics ideas, or a working laptop or computer scientist to appreciate the subtleties of dance notation. The liveliness of this multidisciplinary assembly is mirrored by way of the ebook thank to the willingness of authors to proportion their very own studies with others.
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Extra resources for Dance Notations and Robot Motion
The sculpture’s movements are affected by the proximity of the viewer, who becomes both audience and participant. The sculptural installations consist of a large number (from dozens to hundreds) of sensors and actuators; from the robotics perspective, the sculpture can be considered as a robot with a large number of degrees of freedom. However, unlike many robots, it is not anthropomorphic, but rather, emulates non-human natural forms, akin to a forest canopy. The sensors detect the presence and proximity of visitors and generate movements and other activation in response.
2 illustrate expressive arm/hand movements choreographed to create affective responses in a theatre audience. Fig. 2 Left photo Illustrates an expansive, all-encompassing joy in dancer’s lightly held arms with controlled ﬁngers miming repetitive quick, “talking” gestures; in contrast to the singer’s delicate precisely-focused appeal. Right photo Illustrates a light, sustained, fluid enclosing gesture of shy love in response to a gentle touch. J. Burton et al. Our approach aims to formalize and quantify the relationship between perceived movement qualities and measurable features of movements, to enable this relationship to be exploited for automated recognition and generation of affective movement.
Direction along a pathway is usually signiﬁcant, but this was not left free for the actor in the ﬁrst and second sets. Palm facing and ﬁnger movements are also of emotional import, but variability was minimized, especially in the ﬁrst set. A natural tendency to transfer expressive movements to other parts of the body, such as torso and shoulder, especially when the arm and hand movements were limited, would not be taken into account in this study due to the limitations of structure of the robotic frond.