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An exploration of Life FormsRTM-gene...

Thompson, Samara Linnae.

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An exploration of Life FormsRTM-generated choreography and computer-enhanced dance performance.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	An exploration of Life FormsRTM-generated choreography and computer-enhanced dance performance./
作者:	Thompson, Samara Linnae.
面頁冊數:	116 p.
附註:	Source: Masters Abstracts International, Volume: 41-02, page: 0333.
Contained By:	Masters Abstracts International41-02.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=MQ71627
ISBN:	0612716279

An exploration of Life FormsRTM-generated choreography and computer-enhanced dance performance.
Thompson, Samara Linnae.

An exploration of Life FormsRTM-generated choreography and computer-enhanced dance performance. - 116 p.

Source: Masters Abstracts International, Volume: 41-02, page: 0333.

Thesis (M.A.)--York University (Canada), 2002.

This thesis examines the relationship between computers and modern dance, with a focus on computer-generated dance choreography and computer-enhanced dance performance. More specifically, a computer animation program, Life Forms<super> ®</super>, was used to produce an original choreographic work. Life Forms was used as an idea generator and, as I surmised, the choreographic output was exceedingly varied from my usual movement inclinations.

ISBN: 0612716279Subjects--Topical Terms:

610547
Dance.

An exploration of Life FormsRTM-generated choreography and computer-enhanced dance performance.
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520 $a This thesis examines the relationship between computers and modern dance, with a focus on computer-generated dance choreography and computer-enhanced dance performance. More specifically, a computer animation program, Life Forms<super> ®</super>, was used to produce an original choreographic work. Life Forms was used as an idea generator and, as I surmised, the choreographic output was exceedingly varied from my usual movement inclinations.
520 $a Beyond using Life Forms as a creative resource, another research objective of this project was the exploration of how various teaching methods used to translate the dance from animation to live dancer affected the output. The animated movements were taught to live dancers in a variety of ways, resulting in often surprising findings. For the majority of the choreography, the dancers were either instructed to view the animations and recreate the movement as accurately as possible or they were given a printout of the Timeline and its keyframes and told to interpret the transitions between the positions however they desired. The dancers' comments regarding their experience with this process are included. (Abstract shortened by UMI.)
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