Touching space: Using motion capture and stereo projection to create a "virtual haptics" of dance

This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to "touch" the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as "virtual force" to realize the idea of a "virtual haptics" of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that "touches" space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking. © 2010.

Motion for change of venue in the case of the Inhabitants of Massachusetts Bay Colony v. Charles Paxton, October 1761

A motion that the case not be tried in Suffolk County, on the grounds that the judges and jurors were residents of the colony. Pratt was attorney to Paxton, an attorney and commissioner of customs, who had incurred a debt to the Colony.

Idyllic pictures drawn by Barnes, Miss Ellen Edwards, Paul Gray, Houghton, R.P. Leitch, Pinwell, Sandys, Small, G. Thomas, etc. etc.

"The illustrations in this volume have already appeared in the pages of 'The Quiver,' and are now printed from the original wood blocks; but many of the poems are here published for the first time."

Guide to Holland : with map of Holland and plans of Amsterdam, Rotterdam, The Hague, Leiden, Middleburg, Dordrecht, Arnhem and envions, Nijmegen, Kampen, the Isle of Walcheren, the Isle of Marken, etc. : upwards of fifty illustrations and reproductions of famous pictures.

Includes index.

Joan of Arc loan exhibition catalogue; paintings, pictures, medals, coins, statuary, books, porcelains, manuscripts, curios, etc.

"'La pastoure d'Arc', by the author of 'The martyrdom of an empress'": p. 16-23.

History and antiquities of Kensington, interspersed with biographical anecdotes of royal and distinguished personages, and a descriptive catalogue of the collection of pictures in the palace, from a survey made by the late B. West, esq. P. R. A., by command of His Majesty.

Mode of access: Internet.

Eldorado : or, Adventures in the path of empire: comprising a voyage to California, via Panama; life in San Francisco and Monterey; pictures of the gold region, and experiences of Mexican travel /

Mode of access: Internet.

The Director, a weekly literary journal: containing I. Essays, on subjects of literature, the fine arts and manners. II. Bibliographana. Account of rare and curious books and of the book sales in this country, from the close of the seventeenth century. III. Royal institution. Analyses of the lectures delivered weekly. IV. British Gallery. Description of the principal pictures exhibited ... v. 1-2: Jan. 24-July 4, 1807.

"The biographical part was written by Mr. Dibdin."--Lowndes, The bibliographer's manual of English literature.

Splitting centre : directing attention in trans-media dance performance

In theatrical vernacular, the term ‘splitting centre’ refers to two performers staged at an equal distance from a centre point and sharing the focus of the audience. This term encapsulates the notion that two people (or, in the case of trans-media dance, two or more performance entities) are dividing the attention of the audience, operating as equal collaborators in a performance context. The augmentation of live performance with 3D projected scenography and mobile devices offers a starting point for discussions on the potential for dramaturgy, choreographic process, and changing expectations for audience behaviour in the theatre. In 2014, Deakin Motion.Lab premiered The Crack Up, a trans-media dance work that incorporated live performance, 3D digital scenography, and The Crack Up App, an app for mobile devices that audience members were invited to interact with during the performance. This investigation into the potential of trans-media dance performance, (defined here as a live performance in which both the digital and biological elements are choreographed as artistic equals within the theatrical context) with the addition of a mobile device raises questions about how the makers of trans-media dance might direct the attention of their audiences when the work is performed simultaneously across multiple platforms.