Dance ontology

  • What is ontology in dance?

    An ontology for traditional dances should be representative of the required accomplishments to reprise the dance, as well as the aesthetic feel of the dance and the associated religious or social or seasonal beliefs of the related community with the dance, all of which are missing in the consulted developed ontologies..

  • What is the philosophy of dance?

    The dance philosophy that is a subset of philosophical aesthetics is interested in the question, “what is the nature of dance as art?” Here one set of philosophical problems center on identifying what the art product of dance is—whether it is an object or structure of some or a more fluid process or event..

  • Dance theory deals with anatomical movements (such as foot-work, etc.), as well as partner interactions, and their associations to each other and to music as art.
    It explores the communicative, physical, mental, emotional, and artistic aspects of dance as a medium of human expression and interaction.
  • It is possible through understanding including the writing and drawing of dances within a sphere to understand that all dance is based on natural body movements that is the moving of joints limbs and legs and fingers, dance theory is based on these founding principles that is the sphere and lines of the body to derive
  • The choreologists belief that any good dance should be well choreographed.
    They ultimately give attention to directions of movement which are lines in which dance can be created.
    This theory combines aesthetics and the pattern in which the body of dancers and his movement on the floor can be designed.
Dance is “essentially embodied” and “essentially ephemeral”, to use the words of Renee. Conroy; dance artworks are real-time events that rely on the dancer's 
In this paper, which addresses dance ontology, I will argue that dance is deserving of philosophical attention precisely because of its uniqueness as an art 

What is a central feature of understanding dance?

Carroll and Seeley (2013) argue, for example, that one of the central features of understanding dance is to understand the nature of the experience of dance in all its aspects, cognitive as well as kinesthetic and felt

What is dance philosophy?

“Philosophy” is thus construed broadly here in keeping with how the term is used in the rapidly growing field of the philosophy of dance

The potential for dance philosophy is enormous, in part because dance itself is multifaceted enough to make it connect with many branches of philosophy

Who wrote dance as a means of communication?

, 1946, “Dance as a Means of Communication”, in his The Dance: The Story of the Dance Told in Pictures and Text, New York: Tudor Publishing

Reprinted in Copeland and Cohen 1983: 22–23

Matheson, Katy, 2005, “Improvisation”, in the International Encyclopedia of Dance, Selma Jeanne Cohen (ed

), New York: Oxford University Press, online edition

Machine interpretation of documents and services in Semantic Web environment is primarily enabled by (a) the capability to mark documents, document segments and services with semantic tags and (b) the ability to establish contextual relations between the tags with a domain model, which is formally represented as ontology.
Human beings use natural languages to communicate an abstract view of the world.
Natural language constructs are symbolic representations of human experience and are close to the conceptual model that Semantic Web technologies deal with.
Thus, natural language constructs have been naturally used to represent the ontology elements.
This makes it convenient to apply Semantic Web technologies in the domain of textual information.
In contrast, multimedia documents are perceptual recording of human experience.
An attempt to use a conceptual model to interpret the perceptual records gets severely impaired by the semantic gap that exists between the perceptual media features and the conceptual world.
Notably, the concepts have their roots in perceptual experience of human beings and the apparent disconnect between the conceptual and the perceptual world is rather artificial.
The key to semantic processing of multimedia data lies in harmonizing the seemingly isolated conceptual and the perceptual worlds.
Representation of the Domain knowledge needs to be extended to enable perceptual modeling, over and above conceptual modeling that is supported.
The perceptual model of a domain primarily comprises observable media properties of the concepts.
Such perceptual models are useful for semantic interpretation of media documents, just as the conceptual models help in the semantic interpretation of textual documents.

Categories

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Dance opposite adjective
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Opposite dance meaning
Dancing opposite gender
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Opposite of dancer
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Dance outside car
Dance outside moving car
Dance outside studio
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Dance outside inside