Creative Computing and the Re-Configuration of Dance Ontology

Hetty Blades

Creative Computing and the Re-Configuration of Dance Ontology

Hetty Blades

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Abstract

This paper assesses the impact of the Choreographic Language Agent and the Digital Dance Archives on dance ontology. Enhanced visualisation - afforded by digital technology – impacts on the essential ontological features of dance, such as ephememerality and the human body. Referring to the work of Nelson Goodman (1968) and Martin Heidegger (1977), I discuss the significance of creative programming for dance, asking what such tools reveal about the ontology of the form and existing concepts of movement, notation and embodiment.

Original language	English
Pages	221-228
Publication status	Published - Jul 2012
Event	Electronic Visualisation and the Arts - London, United Kingdom Duration: 10 Jul 2012 → 12 Jul 2012

Conference

Conference	Electronic Visualisation and the Arts
Abbreviated title	EVA 2012
Country/Territory	United Kingdom
City	London
Period	10/07/12 → 12/07/12

Bibliographical note

The full text can also be found online here: http://ewic.bcs.org/content/ConWebDoc/46137

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Creative Computing COMBFinal published version, 480 KB

http://ewic.bcs.org/category/17060

Cite this

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title = "Creative Computing and the Re-Configuration of Dance Ontology",

abstract = "This paper assesses the impact of the Choreographic Language Agent and the Digital Dance Archives on dance ontology. Enhanced visualisation - afforded by digital technology – impacts on the essential ontological features of dance, such as ephememerality and the human body. Referring to the work of Nelson Goodman (1968) and Martin Heidegger (1977), I discuss the significance of creative programming for dance, asking what such tools reveal about the ontology of the form and existing concepts of movement, notation and embodiment.",

author = "Hetty Blades",

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AB - This paper assesses the impact of the Choreographic Language Agent and the Digital Dance Archives on dance ontology. Enhanced visualisation - afforded by digital technology – impacts on the essential ontological features of dance, such as ephememerality and the human body. Referring to the work of Nelson Goodman (1968) and Martin Heidegger (1977), I discuss the significance of creative programming for dance, asking what such tools reveal about the ontology of the form and existing concepts of movement, notation and embodiment.

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T2 - Electronic Visualisation and the Arts

Y2 - 10 July 2012 through 12 July 2012

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Creative Computing and the Re-Configuration of Dance Ontology

Abstract

Conference

Bibliographical note

Access to Document

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Cite this