Dance data, cognition and multimodal communication. (2022)

• Record Type: Book
• Further Information: Note: Edited by Carla Fernandes, Vito Evola, Cláudia Ribeiro.
• Editors: Fernandes, Carla (Montez Fernandes); Evola, Vito; Ribeiro, Cláudia Maria
• Contents: 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 Contributors Rodrigo Abril-de-Abreu is an Invited Researcher at BlackBox, Faculdade de; Ciências Sociais e Humanas, Universidade Nova de Lisboa. He holds a PhD; in Neuroscience, with a specialization in Social Behaviour. His main; research interests lie in the topics of cooperation, empathy, and social; learning in human and non-human animals. Bertha Bermúdez-Pascual is an Artist, Independent Researcher, and an; External PhD student at the Faculty of Humanities, Capaciteitsgroep Media &; Cultuur, Amsterdam University, Amsterdam, The Netherlands. Her research; interests focus on dance transmission, documentation, archiving, and; dissemination using digital media. She has coordinated transdisciplinary; research projects (Capturing) Intention, Inside Movement Knowledge, and; Pre-choreographic Elements between 2005 and 2014. Currently she is; finishing her PhD Performing Archives at the Amsterdam University while; working as independent advisor and coordinator for dance projects and artistic; processes; Mia Sophia Bilitza is a Research Assistant at the faculty of Rehabilitation; Science in Music and Movement in Rehabilitation and Pedagogy in; Disability, TU Dortmund University, Germany. She is currently obtaining; her PhD about respect behaviour in dance contexts and its possibilities for; change in heterogenous societies. Her research interests are respect, dance; integration, and inclusion. She is also a choreographer and dance manager; and works internationally in the field of community dance. Bettina Bläsing is a Lecturer in Rehabilitation Science at the Technical; University Dortmund, Germany. After completing her PhD in Biology; she worked as a Postdoctoral Researcher at the Max-Planck-Institute for; Evolutionary Anthropology at Leipzig and at the Center of Excellence; Cognitive Interaction Technology at Bielefeld. In 2019, she received the; venia legendi in Sport Science at Bielefeld University for completing her; habilitation on memory, learning, and expertise in dance. Catarina Canelas is a Junior Researcher at Instituto de Etnomusicologia –; Centro De Estudos Em Música e Dança at the Faculty of Human Kinetics of; the University of Lisbon (FMH-UL). She has been working on Terpsicore; (dance and performing arts archive) since 2017. This is her first article to be; published. She has both degrees in Dance from FMH-UL and in Social; Policy from Instituto Superior de Ciências Sociais e Políticas, Lisbon; University. Giorgina Cantalini is a Didactic Manager at the Civica Scuola di Teatro Paolo; Grassi and Professor of Italian and Communication at the Civica Scuola; Interpreti e Traduttori Altiero Spinelli, both in Milan, Italy. She obtained her; PhD in Linguistics at Roma Tre University in 2018 with a dissertation on; Gesture/Prosody Synchronization in Acting and Spontaneous Speech. She is; an actress and a drama professor as well, and she has developed a technique for; exploiting body movements for expressive reading. Emily S. Cross is a Professor of Social Robotics within the Institute of; Neuroscience and Psychology at the University of Glasgow in Scotland and; Professor of Human Neuroscience within the Department of Cognitive; Science at Macquarie University in Australia. She obtained her PhD in; Cognitive Neuroscience from Dartmouth College in 2008 and has danced; and toured with several contemporary dance companies in the USA, UK; and NZ. She currently directs the Social Brain in Action laboratory, which; explores how different kinds of experience shape brain and behaviour. Scott deLahunta is a Professor of Dance, Centre for Dance Research; Coventry University (UK) and co-directing (with Florian Jenett) Motion; Bank, Hochschule Mainz – University of Applied Sciences, Germany. He; has worked as writer, researcher, and organiser on a range of international; projects, bringing performing arts with a focus on choreography into; conjunction with other disciplines and practices. http://www.sdela.dds.nl. 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, a
• Edition: 1st
• Publisher Details: London : Routledge
• Publication Date: 2022
• Extent: 1 online resource, illustrations (black and white)
• Subjects: 792.8; Dance -- Psychological aspects; Dance -- Data processing; Modern dance; Cognition; Cognitive neuroscience; Communication in art
• Languages: English
• ISBNs: 9781000556193; 9781000556162; 9781003106401
• Related ISBNs: 9780367617455
• Notes: Note: Includes bibliographical references and index.; Note: Description based on CIP data; resource not viewed.
• Access Rights: Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
• Access Usage: Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.