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![The transition system representation of ILS, [18]. Leader and follower have five distinct states to represent the distinct poses in ILS. Blue arrows represent the transitions between the states. Corresponding * (., .) operators for each transition are illustrated which involve the follower's 2π / π rotations in clockwise/counter clockwise directions. The notation * (0, 0) A,C,D is used to represent the moves A, C and D that are already defined in BLS and that do not involve any follower rotation.](profile/Zhaodan-Kong-2/publication/327757865/figure/fig5/AS:672738058457088@1537404660473/The-transition-system-representation-of-ILS-18-Leader-and-follower-have-five-distinct.png)
The transition system representation of ILS, [18]. Leader and follower have five distinct states to represent the distinct poses in ILS. Blue arrows represent the transitions between the states. Corresponding * (., .) operators for each transition are illustrated which involve the follower's 2π / π rotations in clockwise/counter clockwise directions. The notation * (0, 0) A,C,D is used to represent the moves A, C and D that are already defined in BLS and that do not involve any follower rotation.
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![FIGURE 5. The transition system representation of BLS, [18]. All the...](profile/Zhaodan-Kong-2/publication/327757865/figure/fig3/AS:672738054262785@1537404659754/The-transition-system-representation-of-BLS-18-All-the-moves-in-BLS-have-the-same_Q320.jpg)
![FIGURE 7. The transition system representation of ILS, [18]. Leader and...](profile/Zhaodan-Kong-2/publication/327757865/figure/fig5/AS:672738058457088@1537404660473/The-transition-system-representation-of-ILS-18-Leader-and-follower-have-five-distinct_Q320.jpg)
This paper studies artistic expression in human movement by exploring the performance art form salsa. The motions of a salsa performance are constructed as concatenations of motion primitives, each of which specifies the movement of the dance pair over the course of eight musical beats. To analyze the syntax of artistic expression, the choreography...
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... move backward. Alice has the corresponding transition q 1 Al → q 1 Al . Hence, the move A can be repre- sented by a change of the state of the overall system (4) as < q 1 Bo , q 1 Al >→< q 1 Bo , q 1 Al >. The transition graph of the ILS is much more complex due to the constraints that force the dancers to keep hand contact through the dance. In Fig. 7, states of the leader and follower including the transitions for ILS (blue arrows) are depicted. The effect of the arm constraint can be observed from the final poses of move B, which are represented by q 1 Bo in BLS (in Fig. 5) and q 2 Bo (in Fig. 7) in ILS. In ILS, since the dancers are not allowed to break their hand contact, ...
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... complex due to the constraints that force the dancers to keep hand contact through the dance. In Fig. 7, states of the leader and follower including the transitions for ILS (blue arrows) are depicted. The effect of the arm constraint can be observed from the final poses of move B, which are represented by q 1 Bo in BLS (in Fig. 5) and q 2 Bo (in Fig. 7) in ILS. In ILS, since the dancers are not allowed to break their hand contact, rotation with arm constraints will result in a different final pose in performing move B in ILS than move B in BLS although the dancers execute identical ...
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... associated dance poses in ILS shown in Fig. 1 are decomposed into the poses for the leader and the follower in Fig. 7. If one considers the initial and final poses illustrated in Fig. 1, same poses occur when the agents are in the states < q 1 Bo , q 1 Al > and < q 5 Bo , q 5 Al >, respectively. Using the transition models defined for BLS and ILS, a dance sequence can be observed by the following ...
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... move backward. Alice has the corresponding transition q 1 Al → q 1 Al . Hence, the move A can be repre- sented by a change of the state of the overall system (4) as < q 1 Bo , q 1 Al >→< q 1 Bo , q 1 Al >. The transition graph of the ILS is much more complex due to the constraints that force the dancers to keep hand contact through the dance. In Fig. 7, states of the leader and follower including the transitions for ILS (blue arrows) are depicted. The effect of the arm constraint can be observed from the final poses of move B, which are represented by q 1 Bo in BLS (in Fig. 5) and q 2 Bo (in Fig. 7) in ILS. In ILS, since the dancers are not allowed to break their hand contact, ...
Context 5
... complex due to the constraints that force the dancers to keep hand contact through the dance. In Fig. 7, states of the leader and follower including the transitions for ILS (blue arrows) are depicted. The effect of the arm constraint can be observed from the final poses of move B, which are represented by q 1 Bo in BLS (in Fig. 5) and q 2 Bo (in Fig. 7) in ILS. In ILS, since the dancers are not allowed to break their hand contact, rotation with arm constraints will result in a different final pose in performing move B in ILS than move B in BLS although the dancers execute identical ...
Context 6
... associated dance poses in ILS shown in Fig. 1 are decomposed into the poses for the leader and the follower in Fig. 7. If one considers the initial and final poses illustrated in Fig. 1, same poses occur when the agents are in the states < q 1 Bo , q 1 Al > and < q 5 Bo , q 5 Al >, respectively. Using the transition models defined for BLS and ILS, a dance sequence can be observed by the following ...
Citations
... Dance is the most direct and visual way to express human emotions [5]. The art of dance takes the refined and processed human body movements as the main means of expression and utilizes various elements such as dance language, rhythm, and expression to shape a dance image with intuition and dynamics, which expresses people's lives, thoughts, and feelings, etc. [6][7]. ...
Public physical education and dance courses, fundamental to higher education, serve dual purposes: facilitating the implementation of ideological and political coursework and achieving objectives centered around moral and educational cultivation. This study explores innovative approaches in dance education and the enhancement of civic values through a methodological framework that integrates technology and pedagogy. Initially, the research introduces a spatial-temporal graph convolutional network, innovatively designed with self-adaptive mechanisms and attention functionalities, to precisely capture dance movements. Following this keyframes within these movements are extracted using a novel method that relies on skeletal information and clustering techniques. This approach facilitates the evaluation of similarity metrics concerning joint angles between critical movement frames, thereby establishing a comparative analysis model for dance movements. The resulting scores from this model underpin the subsequent educational interventions. Subsequently, an intelligent database for dance teaching methods was developed, supporting both structured dance training and improvisational dance practices. This database aims to foster pedagogical innovation and enhance practical application in dance education. Quantitative analysis revealed significant improvements post-intervention: the average enhancement in students’ independent learning capabilities was quantified at 19.12 points. Furthermore, a statistical examination comparing pre- and post-intervention data from Class A—specifically analyzing five anatomical points: head, neck, shoulders, hips, and knees—yielded a p-value of less than 0.05, indicating significant postural improvements. Moreover, evaluations of overall civic education factors consistently exceeded a score of 3.5. Notably, the correlation coefficient between the dialectical thinking factor and the total civic score within the dance courses reached 0.88, underscoring the profound potential of dance education in bolstering civic and political education values. The integration of civic and political education content within the dance teaching process emerges as an effective pedagogical strategy, substantially elevating the level of civic and political education within university sports dance courses. This study highlights the transformative potential of integrating advanced computational techniques with traditional dance education to enhance both the pedagogical efficacy and civic engagement outcomes of higher education curricula.
... Especially in the second half of the century swept, the world of post-modernism, making the difference between elegant culture and popular culture gradually disappear. The boundaries of business and cultural artifacts are also increasingly broken and mixed also makes opera art present with classical modernism inherited but different aesthetic characteristics [9][10][11]. ...
Opera is an important part of Western music culture. Chinese Peking Opera and Western opera are a kind of art style focusing on expressiveness. Both of them are isomorphic to a certain extent, and they are different due to cultural differences. This paper takes Tan Dun’s opera “Marco Polo,” a hybrid work of art containing elements of Chinese Peking Opera and Western Opera, as the object of study and quantitatively analyzes the artistic characteristics and expressive forms of the work by means of arithmetic coding technology of audio signals and terminology acquisition and labeling model. According to the results, there are 15 labeled Beijing Opera singing tune fields in the work and 12 labeled locations, which indicate the destinations of Marco Polo’s travel process. The feasibility of the arithmetic coding quantization method, which was employed in the study of Tan Dun’s opera Marco Polo, is confirmed by the results.
... After simulation experiments, it was corroborated that the evaluation accuracy of the mechanism reached 75%, which was better than the traditional method [14]. Ozcimder, K. et al. explored the traditional performing culture and art forms of salsa and evaluated them with an AI jury and a professional jury, and the comparative results confirmed the reliability of the AI jury [15]. Zhuang, X. et al. compared the impacts of tourism development on the socio-cultural aspects of three ancient villages based on participatory in-depth interviews while examining the factors that contributed to the change in the moral values of the residents and found that tourism development is the key to the residents' moral value change [16]. ...
... Quantity Views Thumb up Point step Comment quantity 2013 180 2923649 724553 14420 46140 2014 350 3915132 144175 11272 48948 2015 644 2551315 262672 18888 33523 2016 920 3339416 148006 16141 65579 2017 1073 4232903 304835 12551 58352 2018 1103 3994926 724323 20144 67017 2019 1228 1474458 612545 7024 48488 2020 1361 3961643 328571 12521 55130 2021 1524 3577139 520350 15818 38914 Total 8383 29970600 3770030 128779 462091 Cultural Inheritance and Artistic Construction of Non-heritage Dance in Northern Anhui in the Era of Artificial Intelligence 15 potential for spreading cultural heritage in the new media landscape. Audience engagement, as measured by likes and comments, also reflects a positive reception to this innovative presentation style. ...
This paper explores the integration of image processing, motion capture, and virtual reality technologies to digitize and visualize dance. We capture the core dynamics of dance movements by extracting key frames and movement features from dance videos. Our analysis of motion capture data, exemplified by the “Flower Drum Lantern” dance, reveals a maximum vertical foot displacement of 72 cm and hip displacement of 93 cm. Virtual display technology significantly enhances the visual representation and dissemination of dance performances. This innovative approach to documenting and showcasing dance not only aids in preserving and transmitting intangible cultural heritage but also boosts public awareness and appreciation for such heritage.
... Thus, dance notation is used to document a choreography or a dance composition. Other functions emerged for research purposes, such as the construction of a formal model of positions and transitions for studying human movement, programming robots, or for teaching robots how to dance [2,6,7]. Indeed, partnered dances involve moving as a couple, which is an interesting case of non-verbal communication [2]. ...
... For example, hand and feet positions and slight angular differences in the bodies of the dancers are not modelled. Thus, each of the positions is discrete for a large set of slightly different positions, comparable to knots in knot theory [2,6,7]. To obtain a mathematical knot, one starts with a string, ties a knot, and then joins the ends [1]. ...
Diagrammatic and symbolic notations play a role in the performing arts, such as music, dance, and drama. Some notations for documenting movement of the human body in time have been developed for research and practice. However, contrary to music and drama, learning to dance does not require the mastery of dance notations. The goal of the paper is to examine the potential of diagrammatic notational schemes for learning to lead in salsa dancing. First, goals and functions of dance notation are considered and an existing diagrammatical system is examined as a representational system. Subsequently, a systematic analysis of moves between salsa position diagrams is undertaken and learning tasks are suggested for empirical study.KeywordsDance notationPerforming artsModelling moves and positions
... Thus, dance notation is used to document a choreography or a dance composition. Other functions emerged for research purposes, such as the construction of a formal model of positions and transitions for studying human movement, programming robots, or for teaching robots how to dance [2,6,7]. Indeed, partnered dances involve moving as a couple, which is an interesting case of non-verbal communication [2]. ...
... For example, hand and feet positions and slight angular differences in the bodies of the dancers are not modelled. Thus, each of the positions is discrete for a large set of slightly different positions, comparable to knots in knot theory [2,6,7]. To obtain a mathematical knot, one starts with a string, ties a knot, and then joins the ends [1]. ...
... The computers can detect multiple dancers' actions, and coordinate the dancers by giving visual cues in the form of blinking lights on a large display [83]. Apart from dance improvisation, similar sensor and installation setups can support other types of interactive dance, such as Salsa (a Latin dance), Ballet, Contemporary Dance, and Waltz [82,161,170]. Furthermore, the dancing art installations discussed above shed light on the possibility that avatars can understand the human users' movements, perhaps with a longitudinal observation in the metaverse, thus resulting in highly collaborative art performance across human users and autonomous avatars. However, several unexplored areas exist in technology-inspired dance performance, including connecting kinetics to the audiences, augmentation of expression for choreographers and dancers, aesthetic harmony of dancers as an aligned storyline, interactive build of the choreography, and integration between dancers (regardless of human or virtual characters) and interactive technologies/environments [78]. ...
The metaverse, enormous virtual-physical cyberspace, has brought unprecedented opportunities for artists to blend every corner of our physical surroundings with digital creativity. This article conducts a comprehensive survey on computational arts, in which seven critical topics are relevant to the metaverse, describing novel artworks in blended virtual-physical realities.
The topics first cover the building elements for the metaverse, e.g., virtual scenes and characters, auditory, textual elements. Next, several remarkable types of novel creations in the expanded horizons of metaverse cyberspace have been reflected, such as immersive arts, robotic arts, and other user-centric approaches fuelling contemporary creative outputs. Finally, we propose several research agendas: democratising computational arts, digital privacy and safety for metaverse artists, ownership recognition for digital artworks, technological challenges, and so on. The survey also serves as introductory material for artists and metaverse technologists to begin creations in the realm of surrealistic cyberspace.
DanceSport is a mix between art and sport as it combines an elaborate way of communicating the artistic movement fully synchronized to the character of the melodic line and the competitive character. This special activity is in a continuous transformation through the evolution of technical nature and complexity of dance elements/dance figures, with regulations that constantly adapt to the present time and society, constantly offering an amazing show. The purpose of the research is to structure the DanceSport judging systems, the problems that have arisen over the years and the changes that took place regarding the evaluation of dancers. The evolution of the judging systems and the criteria reflect the evolution of dancers over time, an evolution that became vital because of the technical/artistic nature of transformation and also, because of the complexity of the choreographies or dance routines.
The effectiveness of classification based on motion capture data to identify the human skeleton dance types. The goal is based on the body joint's information is to perform the characteristic posture obtained by the ultra-high Kinect sensor, identifying for each dance. The proposed Target Detection (TD) algorithm is used to dance moving object identification based on the improved Gaussian Mixture Model (GMM). The proposed Target Detection (TD) algorithm based on a Gaussian Mixture Model is a widely used method for modeling background from a Kinect sensor moving objects. The used data set contains six folk dance sequences and their variations. Gesture recognition scheme using a plurality of time constraints, spatial information, and spatial distribution characteristics to create a training data set appropriate application. The Gaussian Mixed Model distribution background model account, the algorithm, and their frame difference can be extracted in straight lines to obtain target dance areas with less background and background photo station under motor damage conditions. Through real-time Target Detection (TD) algorithm dance moving images based on the Gaussian Mixture Model (GMM), these two algorithms effectively detect dance moving image targets.
Dance is the expression of artists' favourite art forms such as express emotions, their body language, and the combination of dance art and stage effects in dance performance. In almost all genres of the art form, the effectiveness of the dance performance is largely due to the quality of the individual dancer's and group dance performance. Performing arts, particularly dance, it is one of the most important of intangible cultural heritage. However, due to the preservation, documentation, analysis, and visualization understanding of dance mode, it is difficult because of technical difficulties relations. The Proposed Machine Learning Support Decision Vector Machine (SDVM) algorithm and Field Programmable Gate Array (FPGA) is a dance expert watching dance due to the recognition task, the task knowledge of professional forecasters, gestures, and facial expressions and face-to-face conditions led to better synchronization of timing. In the proposed Machine learning SDVM algorithm, the results show that positive and dancers in the audience increased negative emotions; acceleration rate and body movement also increased. SDVM is classified as dancer performance based on the artist's facial expressions, stage performance, emotions. The simulation results show good results compared to other methods.
