DOI•
SAMBA: steadied choreographies
04 Jun 2012-pp 1-9
TL;DR: An automatic approach, SAMBA, that computes a pleasing choreography by using a novel combination of a distance weighted, least-squares registration between a previous and a subsequent frame and of a modified SAM interpolation.
Abstract: Given the start positions of a group of dancers, a choreographer specifies their end positions and says: "Run!" Each dancer has the choice of his/her motion. These choices influence the perceived beauty (or grace) of the overall choreography. We report experiments with an automatic approach, SAMBA, that computes a pleasing choreography. Rossignac and Vinacua focused on affine motions, which, in the plane, correspond to choreographies for three independent dancers. They proposed the inverse of the Average Relative Acceleration (ARA) as a measure of grace and their Steady Affine Morph (SAM) as the most graceful interpolating motion. Here, we extend their approach to larger groups. We start with a discretized (uniformly time-sampled) choreography, where each dancer moves with constant speed. Each SAMBA iteration steadies the choreography by tweaking the positions of dancers at all intermediate frames towards corresponding predicted positions. The prediction for the position of dancer at a given frame is computed by using a novel combination of a distance weighted, least-squares registration between a previous and a subsequent frame and of a modified SAM interpolation. SAMBA is fully automatic, converges in a fraction of a second, and produces pleasing and interesting motions.
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TL;DR: In this article , a systematic mapping of the literature carried out is part of a broad search for studies that portray the interdisciplinarity of these two universes, aiming to find technologies that support the choreographic composition process, focusing on tools that work together with the choreographer's activities.
Abstract: Technology has increasingly occupied other areas of sciences and humanities, including art and dance. Over the years, initiatives to use technological applications in artistic performances have been observed and this research is developed regarding this context and the challenge of using technology to support the artist’s imagined creations. The systematic mapping of the literature carried out is part of a broad search for studies that portray the interdisciplinarity of these two universes, aiming to find technologies that support the choreographic composition process, focusing on tools that work together with the choreographer’s activities. The methodology consisted of using search terms in research repositories, which initially returned 635 publications, which were filtered by inclusion and exclusion criteria, to undergo further analysis. Eighteen tools were identified and explored in which the main applicability was the simulation of movements through graphic animation. From the operating mode of these applications, the challenges of the existing relationship between technology and the creation of dance were discussed. This study only incorporates technologies that act as a support tool by sharing the compositional effort, which creates the opportunity for future investigations into other ways of using technology in dance creation. The main contribution of this paper is identifying and classifying the main integration strategies of technology and dance composition, as well as summarizing the data and discussing its implications, been the identification of the lack of involvement of artists (end users) in the early stages of the development process the most relevant finding.
22 Jun 2022
TL;DR: The paper's summaries and discussion consider the effects treating embodied knowledge deriving from western concert dance as universally applicable across geoculturally diverse movement analysis efforts and the unintended erasure of embodied knowledgederiving from non-western dance forms.
Abstract: This paper conducts a thorough mapping study and rhetorical analysis of computing research involving dance. Research investigates: 1) who conducts computing research involving dance; 2) how dance is described in computing research publications; and 3) how geoculturally-specific forms of embodied dance knowledge become normalised over time. The study's publication corpus is extracted from the Association of Computing Machinery (ACM) Digital Library and includes 135 papers returned in a database query using the general keyword search term “dancer.” Results illustrate the geocultural specificity of computing research involving dance and identify rhetorical trends that treat embodied knowledge and methods deriving from western concert dance as the unofficial norm of dance-based movement expertise in computing contexts. The paper's summaries and discussion consider the effects treating embodied knowledge deriving from western concert dance as universally applicable across geoculturally diverse movement analysis efforts. Here, I particularly address the unintended erasure of embodied knowledge deriving from non-western dance forms and discuss what we might learn in terms of best practices from existing trends in computing research involving non-western dance forms.
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Abstract: A rich set of tools have been developed for designing and animating camera motions. Most of them optimize some geometric measure while satisfying a set of geometric constraints. Others strive to provide an intuitive graphical user interface for manipulating the camera motion or the key poses that control it. We will start by reviewing examples of such tools developed by the speaker and his collaborators and students. These include a 6 DoF GUI for moving a MiniCam over a floor plan of the set, arguing the benefits of Screw Motions for interpolation key poses, using HelBender to smoothen piecewise helical interpolating motions, and controlling the camera by moving on the screen the location of feature points tracked by the camera, and scene graph extensions that support smooth transitions between tracked objects. Then, we will ask harder questions: What is the best way for the user to specify the objectives, the constraints, and the camera motion style? How do we define and program such a style? Is the objective to make the motion so natural that it is not noticed by the viewer or is should we strive to support aesthetic qualities and artistic camera actions? And finally, how do we define and program responsive camera behaviors for interactive environments? Author’s prior publications referenced in the talk include: [SBM∗95], [RK01], [KR03], [PR05], [RKS∗07], [PR08], [RS08], [RV11], [RK12], [RLV12].
References
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TL;DR: In this article, the authors present a quantitative continuum theory of flock behavior, which predicts the existence of an ordered phase of flocks, in which all members of even an arbitrarily large flock move together with the same mean velocity.
Abstract: We present a quantitative continuum theory of ``flocking'': the collective coherent motion of large numbers of self-propelled organisms. In agreement with everyday experience, our model predicts the existence of an ``ordered phase'' of flocks, in which all members of even an arbitrarily large flock move together with the same mean velocity $〈\stackrel{\ensuremath{\rightarrow}}{v}〉\ensuremath{
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12 Feb 2004
TL;DR: This paper summarizes the findings of the Human Neuroscanning Project on parametric image registration and non-parametric imageRegistration and describes the setting, methodology, and results that were obtained.
Abstract: 1. Introduction 2. The Human Neuroscanning Project 3. The mathematical setting I PARAMETRIC IMAGE REGISTRATION 4. Landmark based registration 5. Principal axes based registration 6. Optimal linear registration 7. Summarizing parametric image registration II NON-PARAMETRIC IMAGE REGISTRATION 8. Non-parametric image registration 9. Elastic registration 10. Fluid registration 11. Diffusion registration 12. Curvature registration 13. Concluding remarks
1,030 citations
"SAMBA: steadied choreographies" refers methods in this paper
...Prior Art Several computer vision techniques developed for video compression or segmentation and for shape or camera tracking [MV98, Mod04, GKB*07] compute af.ne displacement maps (registration) [KC96, KC98, Kru98] that maximize color or gradient correspondence between one portion of the image…...
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...[Mod04] MODERSITZKI J.: Numerical methods for image registration....
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