"This article works out the main characteristics of 'practice theory', a type of social theory which has been sketched by such authors as Bourdieu, Giddens, Taylor, late Foucault and others. Practice theory is presented as a conceptual alternative to other forms of social and cultural theory, above all to culturalist mentalism, textualism and intersubjectivism. The article shows how practice theory and the three other cultural-theoretical vocabularies differ in their localization of the social and in their conceptualization of the body, mind, things, knowledge, discourse, structure/process and the agent."
(Andreas Reckwitz, 2002)
Andreas Reckwitz (2002). "Toward a Theory of Social Practices: A Development in Culturalist Theorizing", European Journal of Social Theory; Vol.5, No.2; pp. 243-263 DOI: 10.1177/13684310222225432 [http://est.sagepub.com/cgi/content/abstract/5/2/243]
Historically, female anatomy has been represented in medical illustrations predominantly as a variation of the male form in terms of reproductive organs and surface anatomy. There are a multitude of societal, cultural, and religious reasons that have established this ideal, in addition to the fine line between female anatomy and eroticism. This show will compel viewers to question the objectivity surrounding ‘female anatomy’ and define-or re-define-their own perceptions through the art, perspectives, literature, and live burlesque performances featured during the opening event."
(Vanessa Ruiz, 07 August 2012, Street Anatomy)
"A passion for bringing together expertise in the arts, computing and technology is inspiring the University of Greenwich's new Professor of Digital Creativity.
Gregory Sporton, who joins in January  from Birmingham City University, has spent much of his academic career researching the impact of new technology on the visual and performing arts. He is a former professional dancer and has also researched the history of ballet in Soviet times.
He is excited about introducing a new and original focus on the arts to Greenwich. 'I aim to gather together the expertise we have in so many disciplines, such as creative arts, computing, visualisation and all the rest, and make something new and interesting,' Professor Sporton says.
'The arts and sciences are drawn more closely together by technology: there is less differentiation than people think, and at Greenwich I want to build a research environment to explore that."
(University of Greenwich News, 17 December 2012)
"Animating animals is usually fun, but can often be complicated and technical. Figuring out what to do with all those legs can really trip up an animator. We can animate human-shaped characters a lot easier than multi-legged beasts because we have an intuitive knowledge of the way bipeds move.
It is easy for an animator to act out a motion when the character moves like us; feeling the action 'in the body' helps us understand how to animate it. So what happens when the character is a quadruped and you don't have that intuitive feel at your disposal? How do you make that movement believable? Suitable reference and a sophisticated media player is the place to start.
Luckily for the animation community, there is a wealth of reference material that can help. I'll walk you through my process for animating quadruped locomotion and share classic references that will help you deconstruct the fundamentals of the four gaits: walk, run, trot and gallop. I'll also share an example of my own 3D walk animation and offer technical tips for creating believable quadruped locomotion cycles."
(Cathy Feraday Miller, Gamasutra)
Fig.1 Richard Williams, uploaded by "animan1999" on 25 Aug 2009, YouTube.
Fig.2 Richard Williams, uploaded by "animan1999" on 1 Sep 2009, YouTube.
"The basic idea of the project is built upon the consideration of creating a moving sound sculpture from the recorded motion data of a real person. For our work we asked a Laura Keil, a berlin based dancer to interpret a musical piece - Kreukeltape by Machinenfabriek - as closely as possible with the movement of her own body. She was recorded by three depth cameras (Kinect), in which the intersection of the images was later put together to a three-dimensional volume (3d point cloud), doing so we were able to use the collected data throughout the further process.
The three-dimensional image allowed us a completely free handling of the digital camera, without limitations of the perspective. The camera also reacts to the sound and supports the physical imitation of the musical piece by the performer. She moves to a noise field, where a simple modification of the random seed can consistently create new versions of the video, each offering a different composition of the recorded performance. The multi-dimensionality of the sound sculpture is already contained in every movement of the dancer, as the camera footage allows any imaginable perspective.
Similar to painting, a single point appears to be still very abstract, but the more points are connected to each other, the more complex and concrete the image seems. The more perfect and complex the 'alternative worlds' we project and the closer together their point elements, the more tangible they become. A digital body, consisting of 22 000 points, thus seems so real that it comes to life again.
Using 3 different microsoft kinect cameras the movement of the dancer was recorded into those 3d pointclouds that were synced and exported as one large dataset as Krakatoa particle files to be loaded into 3ds max for further rendering and creation of the 3d scene including the camera movement that is controlled by the audio as well."
(Cedric Kiefer and Julia Laub, onformative a studio for generative design)