299
views
0
recommends
+1 Recommend
1 collections
    4
    shares
       
      • Record: found
      • Abstract: found
      • Conference Proceedings: found
      Is Open Access

      Mapping Motion II: Motion Capture and the Visualisation of Dance

      proceedings-article

      Electronic Visualisation and the Arts (EVA 2015) (EVA)

      Electronic Visualisation and the Arts

      7 & 9 July 2015

      Computer choreography, Cunningham, Wittgenstein, LifeForms, Dance notation

      Bookmark

            Abstract

            There is a long and rich tradition of visualising human movement in the history of dance. When considering traditional dance notation in Envisioning Information , Edward Tufte pointed to the dilemmas involved in reducing “the magnificent reality of time and three-space into little marks in flatland,” another instance of the difficulty of “escaping flatland” (Tufte 1990, 119). In “Mapping Motion: The Principles of Motion Capture and the Law of Projection,” presented at EVA London 2013, I examined performance capture in 3D animation, as used in films such as Avatar and The Lord of the Rings , to understand how Wittgenstein’s law of projection could illuminate the broader principles involved in this powerful and rapidly developing art form. In this talk, I will present a parallel case study of projective visualisation in dance, another art form significantly affected by, and in the minds of some of its most significant and creative practitioners extended by, motion capture. LifeForms, a computer choreographic software tool developed at Simon Fraser University, was used by legendary choreographer Merce Cunningham to create revolutionary dances. In “Wittgenstein and Tufte on Thinking in 3D,” presented at EVA London 2012, I argued that the mapping relation captured by the law of projection in the Tractatus contributed to our understanding of Tufte’s theories of envisioning information. There, the projective relation mapping information to visual data displays is central to escaping flatland. In this talk, I will explore whether such a mapping relation, and the law of projection informing it, can also ground the principles of representation involved in motion capture as it functions creatively in computer visualisations of dance. While the argument is grounded in concrete practices of electronic visualisation, my concern will be to argue that Wittgenstein’s logic of depiction, informed by his law of projection, illuminates the theoretical underpinnings of these important case studies.

            Content

            Author and article information

            Contributors
            Conference
            July 2015
            July 2015
            : 46-55
            Affiliations
            [0001]Saint Mary’s College

            Notre Dame, Indiana, USA
            Article
            10.14236/ewic/eva2015.5
            3245e8db-0301-4e70-b85f-3d3e9446866b
            © Kelly Hamilton Published by BCS Learning and Development Ltd. Proceedings of EVA London 2015, UK

            This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

            Electronic Visualisation and the Arts (EVA 2015)
            EVA
            London, UK
            7 & 9 July 2015
            Electronic Workshops in Computing (eWiC)
            Electronic Visualisation and the Arts
            Product
            Product Information: 1477-9358BCS Learning & Development
            Self URI (journal page): https://ewic.bcs.org/
            Categories
            Electronic Workshops in Computing

            REFERENCES

            1. 2014 Choreography as Mediated through Compositional Tools for Movement MOCO’14 Paris, France 16–17 06 2014 p1 6

            2. 2004 Four Key Discoveries Theater 34 2 104 111

            3. 1991 Composition of Multiple Figure Sequences for Dance and Animation The Visual Computer 7p114 121

            4. 1992 Engineering and the Mind’s Eye MIT Press Cambridge, Mass

            5. 1991 Dance Notations Published in England c. 1700–1740 Dance Research: The Journal of the Society for Dance Research 9 2 32 50

            6. 2013 Mapping Motion: The Principles of Motion Capture and the Law of Projection Electronic Visualisation and the Arts (EVA 2013) London, UK 29–31 07 2013 p239 245 British Computer Society London

            7. 2001 Wittgenstein and the Mind’s Eye Wittgenstein: Biography and Philosophy Cambridge University Press Cambridge

            8. 2012 Wittgenstein and Tufte on Thinking in 3D: ‘Escaping Flatland.’ Electronic Visualisation and the Arts (EVA 2012) London, UK 10–12 07 2012 p107 118 British Computer Society London

            9. 1988 Dance, Video, Notation and Computers Leonardo 21 45 50

            10. 2007 Thinking Animation: Bridging the Gap between 2D and CG Cengage

            11. Language of Dance Center http://www.lodc.org 25 03 2015

            12. 2000 A Lifetime of Dance American Masters. Thirteen/WNET New York

            13. 1998 Dance Notations in late 17-Century France Early Music 26 2 286 299

            14. 1993 A Case Study of Merce Cunningham’s Use of the LifeForms Computer Choreographic System in the Making of Trackers Masters Thesis Simon Fraser University Canada

            15. 2009 The Varieties of User Experience: Bridging Embodied Methodologies from Somatics and Performance to Human Computer Interaction PhD Thesis, University of Plymouth UK

            16. 1998 Archives of the Dance: The Library of the Language of Dance Center Dance Research 16 2 67 76

            17. 1995 Wittgenstein on Mind and Language Oxford University Press Oxford

            18. 1990 Envisioning Information The Graphics Press Cheshire, Connecticut

            19. 1961 Notebooks 1914–1916 Edited by and Basil Blackwell Oxford

            20. 1922 Tractatus Logico-Philosophicus Routledge London and Gutenberg Project online

            Comments

            Comment on this article