Analisis Komparasi Aspek Gerak dan Biomekanika Tari Gandrung Banyuwangi dan Balet Klasik

Tari Gandrung Banyuwangi sebagai tari tradisional dan tari Balet sebagai tari klasik memiliki gerakan tubuh yang unik dan rumit. Keunikan dan kerumitan gerak ini menuntut kekuatan fisik dan kelenturan tubuh penari-penarinya. Tari Balet merupakan salah satu topik yang banyak dikaji, khususnya dari aspek gerak dan biomekanika. Artikel ini bertujuan untuk mendeskripsikan potensi biomekanis tari Gandrung berdasarkan perbandingan dengan tari Balet. Perbandingan dilakukan melalui kajian literatur yang menunjukkan kesamaan kedua jenis tari. Selanjutnya, dilakukan review penelitian tari Balet untuk mendapatkan acuan ukuran potensi tari Gandrung. Analisis menunjukkan bahwa tari Gandrung dan tari Balet memiliki kesamaan antara lain pada gerak dasar langkah kaki, posisi tubuh condong ke depan dan posisi tumpuan di ujung telapak kaki. Hasil analisis ini menunjukkan bahwa tari Gandrung juga memiliki potensi untuk menjadi bahan kajian gerak dan biomekanika tari, bahkan berpotensi sebagai bentuk terapi fisik

Towards a Smart Drone Cinematographer for Filming Human Motion

Affordable consumer drones have made capturing aerial footage more convenient and accessible. However, shooting cinematic motion videos using a drone is challenging because it requires users to analyze dynamic scenarios while operating the controller. In this thesis, our task is to develop an autonomous drone cinematography system to capture cinematic videos of human motion. We understand the system's filming performance to be influenced by three key components: 1) video quality metric, which measures the aesthetic quality -- the angle, the distance, the image composition -- of the captured video, 2) visual feature, which encapsulates the visual elements that influence the filming style, and 3) camera planning, which is a decision-making model that predicts the next best movement. By analyzing these three components, we designed two autonomous drone cinematography systems using both heuristic-based methods and learning-based methods.For the first system, we designed an Autonomous CinemaTography system -- "ACT" by proposing a viewpoint quality metric focusing on the visibility of the 3D human skeleton of the subject. We expanded the application of human motion analysis and simplified manual control by assisting viewpoint selection using a through-the-lens method. For the second system, we designed an imitation-based system that learns the artistic intention of the cameramen through watching professional aerial videos. We designed a camera planner that analyzes the video contents and previous camera motion to predict future camera motion. Furthermore, we propose a planning framework, which can imitate a filming style by ``seeing" only one single demonstration video of such style. We named it ``one-shot imitation filming." To the best of our knowledge, this is the first work that extends imitation learning to autonomous filming. Experimental results in both simulation and field test exhibit significant improvements over existing techniques and our approach managed to help inexperienced pilots capture cinematic videos

The role of motion smoothness, synchrony, and culture in aesthetic perception of human movement: from the method of production to the method of choice

This thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University LondonResearch on aesthetic perception of dance has been recently generating considerable interest within the field of Psychology of Aesthetics. There are, however, a number of methodological and conceptual gaps in our knowledge such as the application of the method of production, as well as understanding the role of motion smoothness, synchronous movement, and cultural factors in aesthetic perception. The present basic research addresses those gaps through five psychological experiments. In study 1, participants generated static sequences of images according their preference. Smooth continuation of meaningful objects was preferred when considering implied motion. In study 2, participants sorted images into moving sequences that they would like to see. Participants liked movements with smooth motion. In study 3, participants rated different schematic video animations depicting two dancers. Participants preferred smooth movements preformed in synchrony. In study 4, participants rated video animations depicting different types of motion performed by human body or abstract shapes. Participants preferred smooth synchrony. In study 5, British and Japanese participants watched synchronous and asynchronous actual dance video clips, rated the videos according their aesthetic judgement and answered questionnaires about motivations and individualism/collectivism. British participants preferred asynchronous dance while Japanese participants preferred synchronous dance. Studies 1 and 2 applied the method of production for the first time to study aesthetic preference for human movement, studies 1 to 4 support the neurocognitive model of aesthetic appreciation in the performing arts. Study 5 supports our cultural hypothesis: British participants preferred asynchrony (in line with analytical perceptual style, Western focus on individual movements), whereas Japanese participants preferred synchrony (holistic style, Eastern focus on group movement). Convergence between the neurocognitive model and the cultural hypothesis is discussed. The present research opens new lines of research in perception of human movement and performing arts: the method of production, motion smoothness, synchrony, and cross-cultural aesthetics.Colciencias and Universidad del Norte

THE DEVELOPMENT & SOCIETAL IMPACTS OF A SPEED MODEL FOR TERRAIN PARKS

The objective of this project was to develop ways to design safer terrain parks. Two separate models, The Geometrical Jump Design Model and The Speed Model, were developed and produced criteria for the initial design and predicted the speed for any jump. To understand the opinions of society on terrain park safety and this research, questionnaires were distributed within the skiing culture. Through field data and surveys it was found that utilizing terrain park design models and integrating them into society and terrain would mostly be welcomed and used

3D (embodied) projection mapping and sensing bodies : a study in interactive dance performance

This dissertation identifies the synergies between physical and virtual environments when designing for immersive experiences in interactive dance performances. The integration of virtual information in physical space is transforming our interactions and experiences with the world. By using the body and creative expression as the interface between real and virtual worlds, dance performance creates a privileged framework to research and design interactive mixed reality environments and immersive augmented architectures. The research is primarily situated in the fields of visual art and interaction design. It combines performance with transdisciplinary fields and intertwines practice with theory. The theoretical and conceptual implications involved in designing and experiencing immersive hybrid environments are analyzed using the reality–virtuality continuum. These theories helped frame the ways augmented reality architectures are achieved through the integration of dance performance with digital software and reception displays. They also helped identify the main artistic affordances and restrictions in the design of augmented reality and augmented virtuality environments for live performance. These pervasive media architectures were materialized in three field experiments, the live dance performances. Each performance was created in three different stages of conception, design and production. The first stage was to “digitize” the performer’s movement and brain activity to the virtual environment and our system. This was accomplished through the use of depth sensor cameras, 3D motion capture, and brain computer interfaces. The second stage was the creation of the computational architecture and software that aggregates the connections and mapping between the physical body and the spatial dynamics of the virtual environment. This process created real-time interactions between the performer’s behavior and motion and the real-time generative computer 3D graphics. Finally, the third stage consisted of the output modality: 3D projector based augmentation techniques were adopted in order to overlay the virtual environment onto physical space. This thesis proposes and lays out theoretical, technical, and artistic frameworks between 3D digital environments and moving bodies in dance performance. By sensing the body and the brain with the 3D virtual environments, new layers of augmentation and interactions are established, and ultimately this generates mixed reality environments for embodied improvisational self-expression.Radio-Television-Fil

A state of transcendence in dance: An autoethnographic analysis

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis maps and analyses a dancer’s journey and as that dancer is myself the research investigates the limits and possibilities of self-observation as a methodology. I have taken a term commonly used in dance – transcendence – and used it as a gateway to explore the invisible experience that is the dancer’s personal process, configuring its key characteristic as a creative tension between restriction and infinite possibility, further explored as the dialogue between embodied technique and the sense of freedom in dance. I explore how my body and experience in dance can be theorised, and what methodological tools are useful in the attempt to better understand the embodied work and invisible inner experience of the dancer. I place myself as the subject of the research and argue for the significance of my lived experience as a cross-cultural journey in the development of my own body’s intelligence. The research addresses specifically a dancer’s body as a site for the interweaving of two different forms of dance, namely Korean dance and Western ballet, and explores the impact of this on the dancer in question. The aesthetic and technical implications of this inter-cultural practice are analysed alongside a study of the culturally inscribed body that in this research draws specifically on a Korean woman's upbringing in Korea. Included with the written thesis are accompanying creative material in the form of a spoken address and films of original choreography danced by the researcher. An appendix is attached for those interested in knowing more of the choreographic process involved in the dance works