Social turkey

Social Turkey is a short digital dance video developed over a series of weekly meetings with a group of sprightly and defiant sixty-plus year olds resident in Limerick. Very early in the process artist Ciara Finnegan and choreographer Jenny Roche found each individual expressing a wonderful enthusiasm for dance, an eagerness to perform and a healthy refusal to conform to stereotypes of aging. Finnegan was keen that this project should support an exchange of ideas rather than employ a top-down directorial structure. While Roche devised the fundamentals of the dance and Finnegan manned the camera, each participant contributed thereafter - improvising on a step sequence and collaborating on patterns that ultimately determined much of the look of the result. The work seeks to amplify the represented interests of a wider community while celebrating the vivacity of the particular group and the sheer fun of the collaboration.

Robots, avatars and ghosts

This performance explored the use of live motion capture - driven and 3D avatars and robots in dramatic theatre. The work was part of an Australia Council Artlab research project to develop new approaches to using digital technology in dramatic theatre.

Responding to human full-body gestures embedded in motion data streams.

 This research created a neural-network enabled artificially intelligent performing agent that was able to learn to dance and recognise movement through a rehearsal and performance process with a human dancer. The agent exhibited emergent dance behaviour and successfully engaged in a live, semi-improvised dance performance with the human dancer.

Use of digital media and dance within the classroom

Beckwith spoke on and conducted workshops on the use of digital media and dance within the classroom.

From the website http://ausdance.org.au/news/article/2011-dance-across-the-domains-2011 :
Dance Across the Domains (DADs) is an innovative program for teachers and educators to receive professional development from dance industry practitioners and leading dance teachers.

In 2011 the focus for the conference is “dance from many cultures”. A key feature of the conferences is exploring the ways dance can enhance learning in other areas of the curriculum, such as literacy, numeracy, humanities and ICT.

DADs is includes practical activities, theory-based sessions, peer observation, case studies, resource sharing and networking. The conference supports schools’ implementation of VELS domains and strand, provides curriculum advice and related support materials.Megan spoke on and conducted workshops on the use of digital media and dance within the classroom. 

Teaching a digital performing agent: artificial neural network and hidden Markov Model for recognising and performing dance movement

For a Digital Performing Agent to be able to perform live with a human dancer, it would be useful for the agent to be able to contextualize the movement the dancer is performing and to have a suitable movement vocabulary with which to contribute to the performance. In this paper we will discuss our research into the use of Artificial Neural Networks (ANN) as a means of allowing a software agent to learn a shared vocabulary of movement from a dancer. The agent is able to use the learnt movements to form an internal representation of what the dancer is performing, allowing it to follow the dancer, generate movement sequences based on the dancer's current movement and dance independently of the dancer using a shared movement vocabulary. By combining the ANN with a Hidden Markov Model (HMM) the agent is able to recognize short full body movement phrases and respond when the dancer performs these phrases. We consider the relationship between the dancer and agent as a means of supporting the agent's learning and performance, rather than developing the agent's capability in a self-contained fashion.

'Just dance' with digital literacy

In a rapidly changing higher education environment, Deakin University’s promise is to offer “brilliant education where the students are ‐ and where they want to go”. Targets set for learning, teaching and research, have significant implications across the University. Collaboration at all levels of the organization is core to achieving goals that deliver value to the student community.

The Library is charged with delivering one of the University's eight graduate learning outcomes, Digital Literacy, with initiatives required to build staff capability and contribute to student learning. Deakin University defines Digital Literacy as using technologies to find, use and disseminate information.

This paper provides an analysis of a case study in which liaison librarians collaborated with science academics to develop innovative digital literacy activities and assessment tasks for undergraduate units related to ‘Judging Reliability and Accuracy of Information’.

The case study reveals that engaging students in meaningful learning activities and assessment tasks creates dynamic and powerful learning experiences for first and second year students. In addition, the leadership that the liaison librarians demonstrate in activities that capitalise on problem based learning, elements of gaming, peer assessment, and new ways of communicating has prompted open conversations and collaborations with academics about further opportunities.

Pixel review: Dance and digital wizardry conjure stunning illusions

A number of artists have explored the fusion of technology with performing arts. From Gideon Obarzanek​ and Frieder Weiss' projection mapping techniques with Glow and Mortal Engine to Garry Stewart and Thomas Pachoud's​ experiments with real-time looping and layered video in Proximity, it seems that infusing performance with choreographed bodies, screen-based design and choreographed pixels is the next frontier of contemporary performance.

Inertial motion capture and live performance (with a focus on dance)

3D Motion capture is a fast evolving field and recent inertial technology may expand the artistic possibilities for its use in live performance. Inertial motion capture has three attributes that make it suitable for use with live performance; it is portable, easy to use and can operate in real-time. Using four projects, this paper discusses the suitability of inertial motion capture to live performance with a particular emphasis on dance. Dance is an artistic application of human movement and motion capture is the means to record human movement as digital data. As such, dance is clearly a field in which the use of real-time motion capture is likely to become more common, particularly as projected visual effects including real-time video are already often used in dance performances. Understandably, animation generated in real-time using motion capture is not as extensive or as clean as the highly mediated animation used in movies and games, but the quality is still impressive and the ‘liveness’ of the animation has compensating features that offer new ways of communicating with an audience.

Note sequence morphing algorithms for performance of electronic dance music

This paper describes algorithms that can musically augment the realtime performance of electronic dance music by generating new musical material by morphing. Note sequence morphing involves the algorithmic generation of music that smoothly transitions between two existing musical segments. The potential of musical morphing in electronic dance music is outlined and previous research is summarised; including discussions of relevant music theoretic and algorithmic concepts. An outline and explanation is provided of a novel Markov morphing process that uses similarity measures to construct transition matrices. The paper reports on a ‘focus-concert’ study used to evaluate this morphing algorithm and to compare its output with performances from a professional DJ. Discussions of this trial include reflections on some of the aesthetic characteristics of note sequence morphing. The research suggests that the proposed morphing technique could be effectively used in some electronic dance music contexts.

Birthday party invitation and dance program

Invitation and dance program. 21st birthday of Sampson Simsom Leo. Three separate papers glued together on a page. Invitation in English script. Black ink on gray-paper. Programs (2) printed in English with gold ink on gray-paper

Dance card

Dance card: Hebrew Charity Ball. Black ink on pink paper. Inside is printed with red ink on white paper. 4 pages.

Dance Based Music on Piano

According to the Merriam-Webster dictionary, the definition of dance is “to move your body in a way that goes with the rhythm and style of music that is being played.” As you can see in that definition, these two important ways of expressing human feelings, music and dance, are very closely related. Countless pieces of music have been composed for dance, and are still being composed. It is impossible and useless to count how many kinds of dances exist in the world. Different kinds of dances have been developed according to their purposes, cultures, rhythm and tempo. For this reason, the field of dance-related music necessarily expanded significantly. A great deal of dance music has been written for orchestras, small ensembles, or vocals. Along with them, keyboard music also has a huge repertoire of dance pieces. For example, one of the most famous form in Baroque period was suites. Suites usually include 5 or more dance movements in the same key, such as Minuet, Allemende, Courant, Sarabande, Gigue, Bourree, Gavotte, Passepied, and so on. Nationalistic dances like waltz, polonaise, mazurka, and tarantella, were wonderful sources for composers like Chopin, Brahms, and Tchaikovsky. Dance-based movements were used for Mozart and Beethoven’s piano sonatas, chamber works and concertos. Composers have routinely traveled around the world to collect folk and dance tunes from places they visit. For example, Bartok and Balakirev's pieces that are based on folk dances from where they had traveled became famous and are still thought to be valuable for studying and performing today. For these reasons, it is clear that dance-related music is a very important part of keyboard music. In three dissertation recitals, to expand my performing repertoire and to understand dance-related music deeper, I tried to explore many different styles of dances, and compare interpretations between composers. This program note contains information about each pieces’ composers, related dances, and backgrounds. I hope this will be helpful for a future performer who’s seeking an effective dance based keyboard piece.

The potential of flood forecasting using a variable-resolution global Digital Terrain Model and flood extents from Synthetic Aperture Radar images

A basic data requirement of a river flood inundation model is a Digital Terrain Model (DTM) of the reach being studied. The scale at which modeling is required determines the accuracy required of the DTM. For modeling floods in urban areas, a high resolution DTM such as that produced by airborne LiDAR (Light Detection And Ranging) is most useful, and large parts of many developed countries have now been mapped using LiDAR. In remoter areas, it is possible to model flooding on a larger scale using a lower resolution DTM, and in the near future the DTM of choice is likely to be that derived from the TanDEM-X Digital Elevation Model (DEM). A variable-resolution global DTM obtained by combining existing high and low resolution data sets would be useful for modeling flood water dynamics globally, at high resolution wherever possible and at lower resolution over larger rivers in remote areas. A further important data resource used in flood modeling is the flood extent, commonly derived from Synthetic Aperture Radar (SAR) images. Flood extents become more useful if they are intersected with the DTM, when water level observations (WLOs) at the flood boundary can be estimated at various points along the river reach. To illustrate the utility of such a global DTM, two examples of recent research involving WLOs at opposite ends of the spatial scale are discussed. The first requires high resolution spatial data, and involves the assimilation of WLOs from a real sequence of high resolution SAR images into a flood model to update the model state with observations over time, and to estimate river discharge and model parameters, including river bathymetry and friction. The results indicate the feasibility of such an Earth Observation-based flood forecasting system. The second example is at a larger scale, and uses SAR-derived WLOs to improve the lower-resolution TanDEM-X DEM in the area covered by the flood extents. The resulting reduction in random height error is significant.