Dance Notations and Robot Motion (Springer Tracts in Advanced Robotics)
Format: PDF / Kindle (mobi) / ePub
How and why to write a movement? Who is the writer? Who is the reader? They may be choreographers working with dancers. They may be roboticists programming robots. They may be artists designing cartoons in computer animation. In all such fields the purpose is to express an intention about a dance, a specific motion or an action to perform, in terms of intelligible sequences of elementary movements, as a music score that would be devoted to motion representation. Unfortunately there is no universal language to write a motion. Motion languages live together in a Babel tower populated by biomechanists, dance notators, neuroscientists, computer scientists, choreographers, roboticists. Each community handles its own concepts and speaks its own language.
The book accounts for this diversity. Its origin is a unique workshop held at LAAS-CNRS in Toulouse in 2014.
Worldwide representatives of various communities met there. Their challenge was to reach a mutual understanding allowing a choreographer to access robotics concepts, or a computer scientist to understand the subtleties of dance notation. The liveliness of this multidisciplinary meeting is reflected by the book thank to the willingness of authors to share their own experiences with others.
non-anthropomorphic, limbless robots? To do that, we pose the hypothesis of this twofold approach: one part (psychology of action) starting from human perception of movements and the resulting attribution of behaviors (from animacy to social agency), and the other (gestural 18 S. Bianchini et al. analysis) starting from movement and going back toward its context (from the kinesphere to the gestosphere). The question then is how to bring those two approaches together in a model allowing, in
to be developed and conﬁrmed, but right away we want to consider some possible orientations. We assume that behavior, as expressed through evocative movements, is the result of different forces and constraints that we could formalize as a sort of landscape expressing the arrangement of these parameters. If this approach follows the line of Laban’s «spheres» and graphic programming environments, the goal here is to integrate behavioral properties that could elicit speciﬁc psychological
surprisingly, capturing, representing, recording and analysing movement has proven to be very difﬁcult—largely due to the inherent complexity and multidimensional nature of whole body movement. This chapter explores the elements involved in recording, representing, analysing and visualizing movement of articulated ﬁgures in general and human bodies in particular. T. Calvert (&) School of Interactive Arts and Technology, Simon Fraser University, Surrey, BC, Canada e-mail: firstname.lastname@example.org © Springer
Grammaire de la notation Benesh, Centre national de la danse, Pantin (2000) 5. Michèle Nadal, Grammaire de la Notation Conté, Centre national de la danse, Pantin (2010) 6. Jean Tabourot (Toinot Arbeau), Orchésographie, Slatkine Reprints, Genève, (1970) Kinetography Laban/Labanotation (textbooks) 7. Jacqueline Challet-Haas, Grammaire de la notation Laban, Cinétographie Laban, vol. 1–2, Centre national de la danse, Pantin 1999, vol. 3, Centre national de la danse, Pantin (2011) 8. Jacqueline
hands which are very often synchronized, the dominant hand slightly preceding the non dominant hand. We may also observe some timing invariants between eye 174 S. Gibet et al. gaze and head movements, or eye-gaze and hand conﬁguration. Thirdly, the dynamics of the gesture (acceleration proﬁle along time) can be used to distinguish two meanings. An example is the difference between the LSF signs JOUER(v) (to play), and DÉTENDU (relaxed), which have the same hands conﬁgurations, the same