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This book is the result of a collaborative and transdisciplinary effort towards a first definition of "dance data", with its complexities and contradictions, in a time where cognitive science is growing in parallel to the need of a renewed awareness of the body's agency in our manyfold interactions with the world.
This book is the result of a collaborative and transdisciplinary effort towards a first definition of "dance data", with its complexities and contradictions, in a time where cognitive science is growing in parallel to the need of a renewed awareness of the body's agency in our manyfold interactions with the world.
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Autorenporträt
Carla Fernandes is Principal Investigator, Head of ICNOVA's Research Group on Performance & Cognition, and Professor at FCSH - Universidade Nova de Lisboa, where she directs the ERC-funded "BlackBox LAB Arts&Cognition." Her current research focus is in the intersection of Performing Arts and Cognitive Science, Multimodal Communication, Intangible Cultural Heritage, and New Media. She is fascinated by the complexity of the human mind and non-verbal behavior in creativity settings. She holds a PhD in Linguistics, supervises numerous PhD and MA theses, and is author in international indexed peer-reviewed journals and books. Vito Evola is currently a Researcher in Cognitive Linguistics and Multimodal Communication at the Universidade Nova de Lisboa, having previously lectured and conducted research at universities in Palermo, Berkeley, Cleveland, Aachen, and Geneva. His research lies at the intersection of language, culture, and cognition, and analyses data from both common and more specialized contexts, such as patient-doctor interactions, psychotherapy and forensic interviews, religious discourse, and the performing arts. Cláudia Ribeiro is a Postdoctoral Researcher at FCUL, in the research group LASIGE. She obtained her PhD in Information Systems and Computer Engineering at the University of Lisbon. Her research interests include machine learning, deep learning (focusing on emotion recognition in multimedia content), and interactive systems.
Inhaltsangabe
List of Illustrations List of Contributors Introduction CARLA FERNANDES 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 SYLVIA RIJMER 2 Dance Data Storytelling STEPHAN JÜRGENS 3 Enabling multimodal interaction in mixed-abled dance: Insights into creating highly accessible teaching tools for inclusive cultural work SUSANNE QUINTEN AND MIA SOPHIA BILITZA Part II Dance documentation and dance scores 4 Recording "Effect": A case study in technical, practical, and critical perspectives on dance data creation DAVID RITTERSHAUS, ANTON KOCH, SCOTT DELAHUNTA, AND FLORIAN JENETT 5 Digital-born artworks and interactive experience: Documentation and archiving PAULA VARANDA 6 Dance scoring and en-action as a creative tool for dance documentation BERTHA BERMÚDEZ-PASCUAL 7 Terpsicore - dance and performing arts archive DANIEL TÉRCIO, CATARINA CANELAS, AND ANA LUÍSA VALDEIRA Part III Computational dance data: Between the real and the virtual 8 Augmented seeing and sensing ANGUS G. FORBES 9 Motion capture and the digital dance aesthetic: Using inertial sensor motion tracking for devising and producing contemporary dance performance DANIEL STRUTT 10 Capturing and visualizing 3D dance data: Challenges and lessons learnt CLÁUDIA RIBEIRO, RAFAEL KUFFNER, AND CARLA FERNANDES Part IV The brain's experience of dance 11 The embodied neuroaesthetics of watching dance EMILY S. CROSS AND REBECCA SMITH 12 Dancing neurons: Common brain activity fMRI analysis of the cerebral phenomena behind dance perception SOFIA AMARAL MARTINS AND FRANK POLLICK 13 "I see something, and I like it": Unveiling a choreographer's decision-making process using quantitative and qualitative methods ANA RITA FONSECA, RODRIGO ABRIL-DE-ABREU, AND CARLA FERNANDES Part V Dance expertise and cognition 14 Dance expertise, embodied cognition, and the body in the brain BETTINA BLÄSING 15 What makes dancers extraordinary? Insights from a cognitive science perspective CARLA FERNANDES, VITO EVOLA, AND JOANNA SKUBISZ 16 The role of dance experience, visual processing strategies, and quantitative movement features in recognition of emotion from whole-body movements REBECCA SMITH AND FRANK POLLICK Part VI Cognitive metaphor and gestures in dance and theatre 17 Unpeeling meaning: An analogy and metaphor identification and analysis tool for modern and post-modern dance, and beyond VICKY J . FISHER 18 Understanding non-verbal metaphor: A cognitive approach to metaphor in dance LACEY OKONSKI, JULIE MADDEN, AND KAITLIN TOTHPAL 19 Study on hand movements accompanied during the description of dance appreciation ZI HYUN KIM AND HEDDA LAUSBERG 20 Reduction of gesticulation and information patterning strategies in acted speech GIORGINA CANTALINI AND MASSIMO MONEGLIA 21 Lines of experience: Towards a research method MICHAEL O'CONNOR Note about Funding Index
List of Illustrations List of Contributors Introduction CARLA FERNANDES 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 SYLVIA RIJMER 2 Dance Data Storytelling STEPHAN JÜRGENS 3 Enabling multimodal interaction in mixed-abled dance: Insights into creating highly accessible teaching tools for inclusive cultural work SUSANNE QUINTEN AND MIA SOPHIA BILITZA Part II Dance documentation and dance scores 4 Recording "Effect": A case study in technical, practical, and critical perspectives on dance data creation DAVID RITTERSHAUS, ANTON KOCH, SCOTT DELAHUNTA, AND FLORIAN JENETT 5 Digital-born artworks and interactive experience: Documentation and archiving PAULA VARANDA 6 Dance scoring and en-action as a creative tool for dance documentation BERTHA BERMÚDEZ-PASCUAL 7 Terpsicore - dance and performing arts archive DANIEL TÉRCIO, CATARINA CANELAS, AND ANA LUÍSA VALDEIRA Part III Computational dance data: Between the real and the virtual 8 Augmented seeing and sensing ANGUS G. FORBES 9 Motion capture and the digital dance aesthetic: Using inertial sensor motion tracking for devising and producing contemporary dance performance DANIEL STRUTT 10 Capturing and visualizing 3D dance data: Challenges and lessons learnt CLÁUDIA RIBEIRO, RAFAEL KUFFNER, AND CARLA FERNANDES Part IV The brain's experience of dance 11 The embodied neuroaesthetics of watching dance EMILY S. CROSS AND REBECCA SMITH 12 Dancing neurons: Common brain activity fMRI analysis of the cerebral phenomena behind dance perception SOFIA AMARAL MARTINS AND FRANK POLLICK 13 "I see something, and I like it": Unveiling a choreographer's decision-making process using quantitative and qualitative methods ANA RITA FONSECA, RODRIGO ABRIL-DE-ABREU, AND CARLA FERNANDES Part V Dance expertise and cognition 14 Dance expertise, embodied cognition, and the body in the brain BETTINA BLÄSING 15 What makes dancers extraordinary? Insights from a cognitive science perspective CARLA FERNANDES, VITO EVOLA, AND JOANNA SKUBISZ 16 The role of dance experience, visual processing strategies, and quantitative movement features in recognition of emotion from whole-body movements REBECCA SMITH AND FRANK POLLICK Part VI Cognitive metaphor and gestures in dance and theatre 17 Unpeeling meaning: An analogy and metaphor identification and analysis tool for modern and post-modern dance, and beyond VICKY J . FISHER 18 Understanding non-verbal metaphor: A cognitive approach to metaphor in dance LACEY OKONSKI, JULIE MADDEN, AND KAITLIN TOTHPAL 19 Study on hand movements accompanied during the description of dance appreciation ZI HYUN KIM AND HEDDA LAUSBERG 20 Reduction of gesticulation and information patterning strategies in acted speech GIORGINA CANTALINI AND MASSIMO MONEGLIA 21 Lines of experience: Towards a research method MICHAEL O'CONNOR Note about Funding Index
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