What do we feel when we watch dancing? Do we "dance along" inwardly? DO we sense what the dancer's body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significa…
Choreographing Empathy challenges the idea of a direct connection between the body of a dancer and that of their observer, arguing that the connection is in fact influenced by ever-changing sociocultural mores. This is a reconception with ramifications fo.
What do we feel when we watch dancing? Do we "dance along" inwardly? DO we sense what the dancer's body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significa…
Why does water always take a winding course in streams and rivers? Do common principles and rhythms underlie its movement - whether it be in the sea, in a plant, or even in the blood of a human being? In this seminal and thought-provoking work, the laws apparent in the subtle pa…
In Motion and Representation, Nicolas Salazar Sutil considers the representation of human motion through languages of movement and technological mediation. He argues that technology transforms the representation of movement and that representation in turn transforms the way we m…
Considers how the representation of human motion through the written record (notation), the visual record (animation), and the computational record (motion capture), produce a material and cultural expression of kinetic minds and identities.
In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion through languages of movement and technological mediation. He argues that technology transforms the representation of movement and that representation in turn transforms the way we m…