Human motion modeling and simulation by anatomical approach

To instantly generate desired infinite realistic human motion is still a great challenge in virtual human simulation. In this paper, the novel emotion effected motion classification and anatomical motion classification are presented, as well as motion capture and parameterization methods. The framework for a novel anatomical approach to model human motion in a HTR (Hierarchical Translations and Rotations) file format is also described. This novel anatomical approach in human motion modelling has the potential to generate desired infinite human motion from a compact motion database. An architecture for the real-time generation of new motions is also propose

The Language of Dance

Dance, like most other art forms, is not intrinsically representational. In fact, the expressive, ritualistic or aesthetic dimensions have often had primacy over the referential over the course of its variegated history, and in much modern and contemporary dance, the representational element is sometimes deliberately suppressed as part of a reaction against the romantic ballet tradition. However, the fact that dance events have so frequently been conceived on the back of literary works in Western culture indicates that some level of semanticization of movement is not only possible but also widely recognised. Indeed, some dances are so closely bound to a preceding literary work that they may be considered as “intersemiotic translations” (Jakobson 1992), i.e. rewritings of a verbal text in a kinetic sign system. This is particularly the case with ballet, as we see here. There have been a number of theories put forward as to how dance represents elements from the outside world. The earliest analyses assumed that it acquired its signifying potential from the way in which human beings physically relate to each other and to their environment in everyday life, thereby positing something inherently ‘natural’ and universal about the kinesthetic code. More recent commentators, on the other hand, emphasise the importance of culture in determining not only the semiotic significance of particular movements but also the way in which those movements are conventionalised into genres. The aim of this paper is to examine the semiotic code that is the Western dance tradition in order to try to isolate some of the ‘signs’ that may be mobilised by choreographers and performers for the purpose of intersemiotic translation. These are exemplified with reference to different ballet versions of Shakespeare’s Romeo and Juliet

Eine Annäherung an den Avantgardismus? Amateur-animation und das Ringen mit der Technik

The chapter examines the status of animation within the emerging British amateur cine movement of the interwar decades, and introduces a case study of the work of the British animator, Alan Cleave

The Lullaby as Art Song: Engaging Repertoire For Study and Performance

When selecting repertoire, teachers of singing do not often turn to lullabies. The consensus is they are too simple in melody, texture, and harmony to warrant attention. However, this commonly held view should be reconsidered because lullabies can offer dramatic text settings. Lullabies can be divided into two categories: those for practical use and those for performance. The latter are composed as art songs written from many perspectives. They can be nationalistic, violent, frustrated, funny, and can use sleep as a metaphor for the release of death. This wealth of subject matter and variety of styles and skill levels found in art song lullabies make them a viable choice for study and performance. While most lullabies conform to the expected characteristics (lilting meter, etc.), many stray away from the standard in surprising and expressive ways. This document includes a catalog of lullabies written for concert performance whose scores are readily available. The catalog is organized by language and includes the poet, source, key, and range for each song, providing singers and teachers of singing an aid in exploring this unusual and often ignored repertoire