How Do Dancers Learn To Dance?: A first-person perspective of dance acquisition by expert contemporary dancers
暂无分享,去创建一个
Wendy E. Mackay | Baptiste Caramiaux | Sarah Fdili Alaoui | Jean-Philippe Rivière | W. Mackay | Baptiste Caramiaux | S. Alaoui | Jean-Philippe Rivière
[1] Sylvia Weir,et al. Action perception , 1974 .
[2] J. C. Flanagan. Psychological Bulletin THE CRITICAL INCIDENT TECHNIQUE , 2022 .
[3] Kristina Höök,et al. Embracing First-Person Perspectives in Soma-Based Design , 2018, Informatics.
[4] Wendy E. Mackay,et al. Expressive Keyboards: Enriching Gesture-Typing on Mobile Devices , 2016, UIST.
[5] R. Schmidt. A schema theory of discrete motor skill learning. , 1975 .
[6] Thecla Schiphorst,et al. Designing for Kinesthetic Awareness: Revealing User Experiences through Second-Person Inquiry , 2017, CHI.
[7] David Kirsh,et al. Embodied cognition and the magical future of interaction design , 2013, TCHI.
[8] D. Wolpert,et al. Computations underlying sensorimotor learning , 2016, Current Opinion in Neurobiology.
[9] Steven J. Chatfield,et al. Teaching and Technique in Dance Medicine and Science: A Descriptive Study with Implications for Dance Educators , 2007 .
[10] Wendy E. Mackay,et al. Using video to support interaction design , 2002 .
[11] Atau Tanaka,et al. Form Follows Sound: Designing Interactions from Sonic Memories , 2015, CHI.
[12] J. Karin. Recontextualizing Dance Skills: Overcoming Impediments to Motor Learning and Expressivity in Ballet Dancers , 2016, Front. Psychol..
[13] Viren Swami,et al. Dancing Toward Positive Body Image? Examining Body-Related Constructs with Ballet and Contemporary Dancers at Different Levels , 2012 .
[14] J. Krakauer,et al. How is a motor skill learned? Change and invariance at the levels of task success and trajectory control. , 2012, Journal of neurophysiology.
[15] Rebecca Enghauser,et al. Motor Learning and the Dance Technique Class: Science, Tradition, and Pedagogy , 2003 .
[16] Sylvie Fortin,et al. La technique des incidents critiques pour cerner l’efficacité des feed-back de correction en danse moderne , 2009 .
[17] Jessica A. Grahn,et al. Optimizing Music Learning: Exploring How Blocked and Interleaved Practice Schedules Affect Advanced Performance , 2016, Front. Psychol..
[18] Alan J. Dix,et al. Designing for appropriation , 2007, BCS HCI.
[19] Donna Krasnow,et al. Dance Science and the Dance Technique Class , 2008 .
[20] Sher ry Folsom-Meek,et al. Human Performance , 2020, Nature.
[21] J. Shea,et al. Contextual interference effects on the acquisition, retention, and transfer of a motor skill. , 1979 .
[22] J. Cho,et al. Reducing Confusion about Grounded Theory and Qualitative Content Analysis: Similarities and Differences , 2014 .
[23] C. Wrisberg,et al. The effect of contextual variety on the practice, retention, and transfer of an applied motor skill. , 1991, Research quarterly for exercise and sport.
[24] A. Strauss,et al. The discovery of grounded theory: strategies for qualitative research aldine de gruyter , 1968 .
[25] Atau Tanaka,et al. Adaptive Gesture Recognition with Variation Estimation for Interactive Systems , 2014, ACM Trans. Interact. Intell. Syst..
[26] H. Rex Hartson,et al. Remote evaluation for post-deployment usability improvement , 1998, AVI '98.
[27] R. Magill,et al. A REVIEW OF THE CONTEXTUAL INTERFERENCE EFFECT IN MOTOR SKILL ACQUISITION , 1990 .
[28] Robert J. Crutcher,et al. The role of deliberate practice in the acquisition of expert performance. , 1993 .
[29] P. Vermersch. L'explicitation de l'action , 1996 .