[A] [B] [C] [D] [E] [F] [G] [H][I] [J] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [U] [V] [W] [X] [Y] [Z]


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Adamson, A. “Calaban”, June 1987. Demonstration at Birmingham University, England. Adorno Theodor W. 2004. filosofia da nova música. 3 ed. São Paulo:

Allen, R. “The bionic dancer”. Journal of Physical Education, Recreation and Dance, pages 38–49, November-December 1983.

Allsopp, Ric & Scott deLahunta, eds.The Connected Body: an interdisciplinary approach to the body and performance. Amsterdam: Amsterdam School for the Arts. 1996

Anderson, J. “Putting dances in a safe place; film, notation, computer – each preserves choreography but not without drawbacks.”. New York Times, 142:H27, August 1 1993.

Andreae, C. “Movement Enters the Computer Age”. Christian Science Monitor, 86(202):15, September 12 1994.

Archer, L. B. A Study of Computer-Aided Choreography. Royal College of Art, London. 1975

Ascott, R. 1998. Art & Telematics: toward the Construction of New Aesthetics. (Japanese trans. E. Fujihara). A. Takada & Y. Yamashita eds. Tokyo: NTT Publishing Co.,Ltd.

Ascott, R. 2002. Technoetic Arts (Editor and Korean translation: YI, Won-Kon), (Media & Art Series no. 6, Institute of Media Art, Yonsei University). Yonsei: Yonsei University Press

Ascott, Roy, “Art and Telematics,” in Art Telecommunications, Heidi Grundmann, ed., The Western Front, Vancouver, Canada, 1984, pp. 25-58.

Ascott, Roy, Art & Telematics: Toward the Construction of New Aesthetics. NTT Publishing Co, 1998.

Ascott, Roy, ed., Reframing Consciousness: Art, Mind and Technology. Portland: Intellect Books, 1999.

Ascott, Roy(2003).Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness. (Ed.) Edward A. Shanken. Berkeley, CA:University of California Press. ISBN 978-0520218031

Ascott. Roy, Telematic Embrace: Visionary Theories of Art, Technology and Consciousness. Edited and with an essay by Edward A. Shanken. Berkeley: Univ. of California, 2003.




Badler, N. and Smoliar, S. “Digital Representations of Human Movement”. Computing Surveys, 11(1):19–38, March 1979.

Badler, N. I., J. O’Rourke, and H. Toltzis. “A Human Body Modelling System for Motion Studies.” Movement Project Report No. 13, Department of Computer and Information Science, University of Pennsylvania, Philadelphia, July 1978.

Badler, N. I., J. O’Rourke, S. Smoliar, and L. Weber. “The Simulation of Human Movement by Computer.” Movement Project Report No. 14, Department of Computer and Information Science, University of Pennsylvania, Philadelphia, July 1978.

Badler, N., Korein, J., Korein, J.U., Radack, G., and Brotman, L. “Tempus: A System for the Design and Simulation of Human Figures in a Task-Oriented Environment”. In Proceedings of the First Annual Workshop on Robotics and Expert Systems, June 1985.

Badler, N.I., J. O’Rourke, and H. Toltzis. “A Spherical Representation of a Human Body for Visualizing Movement.” Proceedings IEEE LXVII/10 (October 1979).


Badler, Norman I., and S. Smoliar. “Digital Representations of Human Movement.” Computing Surveys XI/1 (March 1979). 19-38. (Bibliography)

Baecker, R. Picture-driven animation. Proceedings AFIPS 1969 Spring Jt. Comp. Conference. (Montvale, NJ: AFIPS Press, [1969?]) XXXIV, 273- 88.

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Barabási, Albert-László, Linked: The New Science of Networks. Cambridge, MA.: Perseus Publ. 2002.

Barenholtz, J., Z. Wolofsky, I. Ganapathy, T. Calvert, and P. O’Hara. “Computer Interpretation of Dance Notation.” Computing in the Humanities (Proceedings of the Third International Conference on Computing in the Humanities, 2-6 August 1977, Waterloo, Ontario.) Edited by Serge Lusignan and John North. Waterloo, Ontario: University of Waterloo Press, 1977. 235-40. (Can enter Labanotation movement symbols with a light pen on a competer graphics terminal, convert symbols to numerical representations of body positions of a stick figure of 21 segments, and display output as animation.)

Barfield, W., and S. Weghorst, “The sense of presence within virtual environment: A conceptual framework,” Proceedings of the International Conference on Human-computer Interaction, 5, 91993), pp. 699-704.

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Beaman, Jeanne. “Computer Dance; Implications of the Dance.” Impulse; The Annual of Contemporary Dance. San Francisco, 1965. 27-28. (That two dancers may take the directions generated in Le Vasseur’s study (1965) and produce dances which arrive at different emotional ends through different technical means. Group dances are built from simultaneous individual solutions to computer-generated arrangements that can limited in terms of space, parallel actions, opposition, and mirror images. Ultimately, there is no escaping human control.)

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Birringer, Johannes, “Der transmediale Tanz,” in: Tanz Anders Wo: Tanz intra- und interkulturell. Jahrbuch der Gesellschaft fur Tanzforschung 2004, hg. Krassimira Kurschkova, Nele Lipp. Hamburg: LIT Verlag (forthcoming)

Birringer, Johannes, “Experimentelle Tanzmedien, Interaktive Systeme,” in Tanz, Theorie, Text. Jahrbuch der Gesellschaft fðr Tanzforschung 2002, ed. Christa Zipprich/Gabriele Klein .Hamburg: LIT Verlag, 2002, pp. 477-98.

Birringer, Johannes, “New Environments for Interactive Dance,” in: Between Nature: Explorations in Ecology and Performance, ed. Nigel Stewart and Gabriella Giannachi. Frankfurt: Peter Lang (in press).

Birringer, Johannes, “Performance Systems,” South African Theatre Journal 17, 2003, 79-113.

Birringer, Johannes, “Spletna Okolja za Interaktivni Ples”/Networked Environments for Interactive Dance,” Maska 18, 68-78.

Birringer, Johannes, “Transspacial Light and Virtual Choreography,” ballettanz 6, 2004, 30-32.

Birringer, Johannes, ed., “Connected Dance: Distributed Performance across Time Zones,” -hypertext essay with Ellen Bromberg, Naomi Jackson, John Mitchell, Lisa Naugle, and Doug Rosenberg, in Transmigratory Moves/Dance in Global Circulation. Congress On Research in Dance Conference.

Birringer, Johannes, ed., “Dance and Digital Media,” special issue prepared and edited for Performing Arts Journal 70 (2002), introduction, pp. 84-93.

Birringer, Johannes, Media and Performance: along the border. Baltimore: Johns Hopkins, 1998.

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Brightman, P. “Computer dancemakers”. Leonardo, 23(4):393–396, 1990.

Bromwich, M. 1995. “A Single Performer Controlled Interface for Electronic Dance/Music Theatre.” Poster presented at 1995 International Computer Music Conference ‘Digital Playgrounds’, Banff Centre, Canada. Paper published in ICMC proceedings.

Brooks, Lynn M. 1993. “Harmony in space: a perspective on the work of

Brouwer, Joke , and Arjen Mulder, Susan Charlton, eds. Information is Alive – Art and Theory on Archiving and Retrieving Data. Rotterdam : V2_Publishing/NAI Publishers, 2003.

Brown, M. and Smoliar, S. “A Graphics Editor for Labanotation”. Computer Graphics, 10(2):60–65, 1976.

Brown, M., Smoliar, S., and Weber, L. “Preparing Dance Notation Scores with a Computer”. Computers and Graphics, 3(1):1–7, 1978.

Brown, Maxine and S.W. Smoliar. “University of Pennsylvania’s Moore School of Electrical Engineering . . .” Dance News (September 1977). 19. (Can create on screen and save in memory a notated page using a special keyboard. Required a SPERRY UNIVAC 90/70 system.)

Brown, Maxine D. A Graphic Editor for Labanotation (M.Sc. Thesis.) Moore School of Electrical Engineering, University of Pennsylvania, 1976. (It is based on a one-to-one correspondence between a subset of the ASCII character set and a set of basic Labanotation symbols, with the provision that a Labanotation character may be qualified by additional data concerning its size, shading, orientation, and position. Because of limited ASCII subset, certain Labanotation symbols must be composed by superimposing two or more of these qualified characters. The computers does not recognize the superposition as defining a single symbol such as black dot and empty square to make pelvis.)

Brown, Maxine D. and S. Smoliar. “Preparing Dance Notation Scores with a Computer.” Computers and Graphics III/1 (1978). 1-7.

Brown, Maxine D. and S.W. Smoliar. “A Graphic Editor for Labanotation.” Computer Graphics (Proceedings of the 3rd Annual Conference on Computer Graphics, Interactive Techniques and Image Processing, ACM Computer Graphics) X/2 (Summer 1976). 60-65.

Brringer, Johannes, Klaus Behringer, Uschi Schmidt-Lenhard, eds., Wechselwirkung: Internationales Interaktionslabor. Saarbrücken: SDV, 2004.

Bruderlin, A. “How to Produce Movement with a Computer”. In Dance and Technology I: Moving Toward the Future, pages 10–17, 1992.

Buck, Brian, with Gray Miller, AJ Niehaus and Apryl Seech: “ADAPT (The Association for Dance and Performance Telematics): Multiple definitions of distributed

performance.” Hawaii International Conference on Arts and Humanities January 2004.

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Calgary, Academic Press Inc. (London) Limited (May 1977). 233-49.

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Calvert, T. W., J. A. Landis, and J. Chapman. [clavert chapman and patla?] “Notation of Dance With Computer Assistance.” New Directions in Dance; Collected Writings from the Seventh Dance-in-Canada Conference, held at the University of Waterloo,

Canada, June 1979. Edited by Diana Taplin. Toronto and others: Pergamon Press. 169-78. (Describes a system in which Labanotation commands are inputted to create a solo animated dancing stick figure with 36 joints. Input is based on distal and proximal joint numbers, and other parameters. A database records the Cartesian co-ordinates of the joints, which through projective geometry, are displayed at 14 frames per second. Values computer as a tool and not a means of expression. Suggests macro commands (complex programmed sequence) for complicated actions, such as walking. Required originally and IBM 370/155 but altered to PDP-11/34 system.)

Calvert, T., Bruderlin, A., Dill, J., Schiphorst, T., and Welman, C. “Desktop Animation of Multiple Human Figures”. IEEE Computer Graphics and Applications, 13(3):18–26, May 1993.

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Ceriani, Alejandra. Indagación en el territorio de la performance y las nuevas poéticas tecnológicas. El Antropocentrismo Tecnológico: Figura en disolución. Estudios sobre danza en la Universida. Montevideo, noviembre 2009.

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Cordiero, Helena K. Computer Dance, TV, TV/Dance. Campinas, Brasil: Universidade Estadual de Campinas–Unicamp. 1974. (See review, 1976 Tracy. Cordeiro describes three computer-assisted dances, M3x3, 0o -45o, and Gestures, in which instructions are generated for the dancer and video cameraperson.) Coreográfico do Rio de Janeiro, laban/Bartenieff Institute of Moviment.

Corey, M. “CLIP Computerized Labanotation Instructional Program”. Dance Research Journal, 26(1):36–37, Spring 1994.

Cote-Laurence, P. “Animate Tokens, a New Method of Portraying Dance on a Computer”. In Dance and Technology I: Moving Toward the Future, page 17, 1992.

Crisp, Clement. “No Need to Fear Computer Ballet.” Parade (London Press Service), CLIII.




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Digital Performance, Anomalie digital_arts 2, 2001.

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Dinkla, Söke, Pioniere interaktiver Kunst. Ostfildern: Cantz Verlag, 1997.

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Dreyfus, Hubert L., On the Internet. London/New York: Routledge, 2001.

Du corps a l’avatar/From Body to Avatar, Anomalie digital_arts 1, 2000.

Duffy, B., Goodman, L. and Perlin, K et al. ‘The Butterfly Project: Expressive Animations for Performance and Assistive Technologies’, in Animating Expressive Characters, eds. R. Aylett et al., (Shefifeld, U. of Sheffield Press, 2003).

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Dunin, E. “Personal Computers and Dance Ethnology Research”. Yearbook for Traditional Music, 23:113–124, 1991.

Dunning, J. “Dance by the light of the tube-Use of Life Forms computer program in dance choreography)”. New York Times Magazine, 140:26, February 10 1991.

Dunning, J. “Dancers ask the computer: Are you Joking?”. New York Times, 144:H23, March 5 1995.




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Eickmeier, W., Ryman, R., and Patla, A. “An interactive computerized movement notation system. part 2: Its use in recording kinematics of human ambulation”. Physiotherapy Canada, 37(4):237–243, July-August 1985.

Ellen Bromberg and with Johannes Birringer, “ADaPT: Telepresent Artistic Collaborations,” Interdisciplinary Humanities 21:1 (2004), 87-93.

Ellen Bromberg, with Johannes Birringer, “ADAPT: Telepresent Artistic Collaborations,” Center for High Performance Computing Newsletter, August 2002, vol. 13:2, University of Utah. http://www.finearts.utah.edu/adapt/publications/publications.html
Ellen R. Bromberg, with Johannes Birringer, Jimmy Miklavcic, David
Equivalence between movement and music.” Editado por Mirolsava

Eshkol, N. and P. Melvin, J. Michl, H. Von Foerster, and A. Wachmann. “Notation of Movements.” Biological Computer Laboratory Report, BCL 10.0 (University of Illinois, 1970).

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Eugene Loeffler, eds., Leonardo, Vol. 24:2, 1991.

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Fisher-Stitt, N. S., Warner, M. J., and Martin, B. “HyperCard and Dance History: A Pilot Project”. In Dance and Technology I: Moving Toward the Future, pages 17–20, 1992.

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Forest, F., “Communication Esthetics, Interactive Participation and Artistic Systems of Communication and Expression”, in Designing the Immaterial Society, Design Issues special issue, Marco Diani, ed., Vol. IV, Ns. 1 & 2, University of Illinois, Chicago, pp. 97-115.

Forrest, J. “Field Report: A Choreographer’s Assessment of the DOM Notation System”. Dance Notation Journal, 4(2):47–48, Fall 1986.

Fugedi, J. “Dance Notation and Computers”. Yearbook for Traditional Music, 23:101–111, 1991.

Fugedi, J. “On the Way to Computer-aided Dance Analysis: Retrieving Motives from Labanotation Files”. In Dance and Technology I: Moving Toward the Future, pages 20–25, 1992.




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Goldberg, Ken, ed., The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet. Cambridge, MA: MIT Press, 2000.

Goodman with Kozel and Milton, ‘The SMARTshell: Connecting Performance Practice to Tools for Connected Learning’ (on creation of the Extended Body Telematic Performance Methodology Toolkit’, in A Guide to Good Practice in Collaborative Working Methods and New Media Tools Creation (by and for artists and the cultural sector), eds. Goodman and Milton. Online 2003/Oxford; Oxbow Press, 2004.

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Grau, Oliver, “The history of telepresence: automata, illusion, and the rejection of the body”, in: The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, ed. Ken Goldberg. Cambridge, MA.: The MIT Press: 1999, pp. 94-99.

Gray, J. “A Computerized Procedure for Recording and Analyzing Dance Teacher Mobility”. In Dance Technology: Current Applications and Future Trends, pages 65–71. National Dance Association, 1989.

Gray, J. “Capturing and processing dance images with computers”. In Dance:The Study of Dance and the Place of Dance in Society, Proceedings 8th Commonwealth and International Conference on Sport, Physical Education, Dance, Recreation, and Health, pages 335–339, July 1986.

Gray, J. “Computers and dance”. Journal of Physical Education, Recreation and Dance, pages 34–35, November-December 1983.

Gray, J. “Dance in computer technology:a survey of applications and capabilities”. Interchange, 14(4):15–25, Winter 1984.

Gray, J. “The Evolution of Dance Technology”. In Dance Technology: Current Applications and Future Trends, pages 1–5. National Dance Association, 1989.

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Green, J. “Computers in the fine arts”. Journal for the Anthropological Study of Human Movement, 1(2):75–82, Autumn 1980.
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Hamblett, B. “Computerography”. Dance Magazine, pages 80–81, February 1988.

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Haraway, Donna J. Simians, Cyborgs, and Women: the reinvention of nature. London: Free Association Books. 1991.

Held, R. M., and N. I.Durlach, “Telepresence,” Presence, 1:1 (1992), 109-112.

Hennekens, Annette, Der bewegte Betrachter. Theorien der Interaktiven Medienkunst. Kðln: Wienand, 1997

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Herbison-Evans, D. “A Human Movement Language for Computer Animation.” Language Design and Programming Methodology (Proceedings of the Symposium on Language Design and Programming Methodology.) Edited Jeffrey M. Tobias. September 1979. [New York: Spring, 1980?] 117-28.

Herbison-Evans, D. “Animated Cartoons by Computer Using Ellipsoids.” Proceedings 6th Australian Computer Conference, August 1974. 811- 23 [354-56?].

Herbison-Evans, D. “Dance, Video, Notation and Computers”. Leonardo, 21(1):45–50, 1988.

Herbison-Evans, D. “Publications”. Several articles relating to computers and dance/ dance notation and computer animation.

Herbison-Evans, D. and Politis, G. “Computer animation by choreography”. Australian Computer Science Communications, 9(1):294–303, February 1987.
Herbison-Evans, D. NUDES 2: A Numeric Utility Displaying Ellipsoid Solids, Version 2. Technical Report 125, Sydney University, Basser Department of Computer Science.

Herbison-Evans, D., Neilands, N., and McNair, B. “Computer assisted choreography teaching”. In Proceedings of the 11th Australian Colleges of Advanced Education Computing Conference, pages 282–290, 1980.

Herbison-Evans, Don. “NUDES 2: A Numeric Utility Displaying Ellipsoid Solids, Version 2.” Computer Graphics (SIGGRAPH ’78 Proceedings 23-25 August 1978, Atlanta, Georgia. Edited by Richard L. Phillips.) XII/3 (August 1978). 354-56.

Hirsch, V. “The Implementation of Floor Plans in the Graphic Editor for Labonotation”. Master’s thesis, University of Pennsylvania, 1977.

Hirsch, V. The Implementation of Floor Plans in the Graphic Editor for Labanotation (MSE Thesis.) Dept. Computer and Information Science, Univ. Pennsylvania, 1977.

Hodges, M. “Computers and dance”. Technology Review, 98(1):20–21, January 1995.

Hodges, M. “Computers and dance”. Technology Review, 98(1):20–21, January 1995

Holm, M. “Noting Notation”. Dance Magazine, page 58, September 1990.

Hutchinson Guest, A. Choreo-Graphics: A Comparison of Dance Notation Systems from the Fifteenth Century to the Present. Gordon and Breach Science Publishers S. A., 1989.

Hutchinson Guest, A. Dance Notation: The Process of Recording Movement on Paper. London: Dance Books, 1984.

Hutchinson, A. “A reply”. Dance Magazine, pages 45–46,81–82, January 1967.

Hutchinson, Ann. “A Reply [to A. Michael Noll's “Choreography and Computers” Dance Magazine (January 1967). 45-46, 81-81. (Analysis of movement is the bridge between dance and computer technology. Some choreographers are not clear about their movement ideas, or need the stimulation of real dancers to inspire kinesthetic ideas, and would not easily adapt to computer usage. Inner motivation of movement difficult to determine.)




Jones, S. “Analyzing movement of the body. (computerized video system analyzes and records movements of the body)''. New York Times, 136:21,337, December 27 1986.




Kac, Eduardo, “Ornitorrinco: Exploring Telepresence and Remote Sensing”, in Connectivity: Art and Interactive Telecommunications, Roy Ascott and Carl Eugene Loeffler eds., Leonardo, Vol. 24:2, 1991.

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Kahn, S. “Kahnotation: Computerized Notation for Tap Dance''. In Dance Technology: Current Applications and Future Trends, pages 59--63. National Dance Association, 1989.

Kalawasky, R. S., The science of virtual reality and virtual environments. Wokingham: Addison-Wesley, 1993.

Keen, J. Movement Project, Basser Dept. of Computer Studies, University of Keens, W., Kopp, L., and Levine, M. “Images of American Dance: Documenting and Preserving a Cultural Heritage''. Technical report, National Endowment of the Arts, 1991.

Kozaburo Hachimura, Hiromu Kato and Hideyuki Tamura: A Prototype Dance Training Support System with Motion Capture and Mixed Reality Technologies, Proceeding of the 2004 IEEE International Workshop on Robot and Human Interactive Communication, pp.217-222, 2004.

Kozaburo Hachimura, Katsumi Takashina and Mitsu Yoshimura: Analysis and Evaluation of Dancing Movement Based on LMA, Proc. 2005 IEEE International Workshop on Robots and Human Interactive Communication, pp.294-299, 2005.

Kozel, Susan. “Reshaping Space: Focusing Time”. In Dance Theatre Journal. 12:2. Autumn, 1995. pp. 3-7.

Kroker, Arthur. Spasm: Virtual Reality, Android Music and Electric Flesh. New York: St. Martin's Press, 1993.




Laban, R. Language of Movement. Macdonald and Evans Ltd., 1966.

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Lansdown, J. “The Computer in Choreography''. IEEE Computer, 11(8):19--30, August 1978.

Lansdown, J. and P. Friedman. “Procedures for Artists.” CAS Interact Conference (Edinburgh, 1974).

Lansdown, John. “Computer Art for Theatrical Performances.” Proceedings, ACM International Computer Symposium (Bonn, 1970).

Lansdown, John. “Computer Choreography and Video.” Computing in the Humanities (Proceedings of the Third International Conference on Computing in the Humanities, 2-6 August 1977, Waterloo, Ontario.) Edited by Serge Lusignan and John North. Waterloo, Ontario: University of Waterloo Press, 1977. 241-52. (Apparently, he found the computer sorted movement combinations difficult for dancers to remember, so he used only poses, which the dancers tweened.)

Lansdown, John. “The Computer in Choreography.” IEEE Computer XI/8 (August 1978). 19-30.

Laurel, Brenda. Computers as Theatre New York: Addison-Wesley Publishing Co. 1991.

Laurel, Brenda. Computers as Theatre. Reading, Mass.: Addison-Wesley, 1993.

Le Vasseur, P. “Computer Dance: The Role of the Computer''. Impulse: The Annual of Contemporary Dance, pages 25--27, 1965.

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Noll, A. Michael. “Choreography and Computers” Dance Magazine XLI/1 (January 1967). 43-45. (Discussion of program that indicates stage positions of stick figures and the potential for a choreographer.)

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Woong Choi, Tadao Isaka, Mamiko Sakata, Hidemitsu Morioka, Seiya Tsuruta, Kohei Furukawa, and Kozaburo Hachimura:Quantitative Analysis of Leg Movement and EMG Activity in Expert Japanse Traditional Dancer, Proc. 16th IEEE International Workshop on Robot & Human Interactive Communication, pp.882-887, 2007.

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