How to dance like a robot in step up 3
Make a Dancing RobotARROW_LEFTARROW_LEFTUnit Plan
Lesson 1 of 15ARROW_RIGHT
WeDo 2.0 Core Set
Design and program a robot that performs a cultural dance, tells a story through dance, or dances in pairs or groups.CLOCK
This Maker lesson includes a whole range of possible Dancing Robot designs and performances. Students can explore a cultural dance, tell a story through dance, dance in pairs or groups, or even plan a dance party where WeDo 2.0 robots are more than just dancers!
Ensure that each student has a copy of the Student Worksheet for recording their design process. They will also need the LEGO® Education WeDo 2.0 Core Set (one set for every two students is recommended).
Hand out the Student Worksheets and allow the students to interpret the lesson themselves, or read the Maker Connect text aloud to set the scene.
2. Find a Problem
As students look at the “connect” images and questions, facilitate a discussion to steer them toward a problem or new design opportunity. Once they have decided upon a problem to solve, ensure that they record this in some way. They can use the worksheet to help structure their project documentation or use their own preferred method to record their design journey.
Students should initially work independently or in pairs, spending a few minutes to generate as many ideas as they can to solve the problem. They can use the bricks from the LEGO® set during the brainstorming process, or sketch out their ideas in the space provided on the worksheet.
It is important for students to spend time tinkering with the LEGO® bricks in order to generate ideas. The goal of tinkering is to explore as many solutions as possible. You can use the tinkering examples at the end of these materials for inspiration, or as a means for getting started.
Students can now take turns sharing their ideas within their groups. Once all of the ideas have been shared, each group should select the best idea(s) to make. Be prepared to help facilitate this process, ensuring that the students choose an idea that is possible to make. Encourage diversity, not all groups have to make the same thing.
4. Choose the Best Idea
Students should record up to three design criteria on their worksheets. They will refer to this again as they review and revise their solutions.
5. Go MAKE
Let the students carry out one of their group’s ideas using WeDo 2.0 and other materials as needed. Reinforce that students do not have to come up with the whole solution from the start.
During the making process, remind students to test and analyze their idea as they go, making improvements where necessary. If you want students to submit their documentation at the end of the lesson, ensure that they use sketches and photos of their models to record their design journey during the making stage of the lesson.
Some students may need a little inspiration and scaffolding to help them get started.
Students can explore the Model Library to find inspiration for the different types of dances they can do. By asking questions (e.g., Do you want to make a dancing robot that spins? That walks? ), you can help lead the students to relevant models based on their ideas. Students can remix their models by adding or removing LEGO® elements and “costume” pieces.
Remixed from #13. Sweep
Remixed from #1. Wobble
6. Evaluate What You Have Made
Students will test and evaluate their designs against the design criteria they recorded before they started making their solutions. They can record notes on their Student Worksheets.
7. Present Your Model
Allow time for each student or student group to present what they have made to the class. A good way to do this is to set out a table large enough to display all of the models. If time is short, pair off the groups and have them present to each other.
Students will use the Student Worksheet assessment rubric to evaluate their design work according to the ‘Four Bricks Scale’.
9. Tidy Up
Ensure that you leave approximately 10-15 minutes at the end of the lesson to break down the models and sort them back into the LEGO® boxes.
After completing this lesson, students will have:
Defined a clear design need
Developed their ability to iterate and improve design solutions
Developed their problem-solving and communication skills
Used and understood the design process
LEGO® Education WeDo 2.0 Core Set
WeDo 2.0 Software or Programming App
Use craft materials that you already have in your classroom to add another dimension to this lesson. Some materials could be:
Plastic or paper cups
Fabric or felt
Foam, pom-poms, or beads
Introduction to the Maker LessonsMaker ConnectStudent Self-AssessmentClassroom Poster of the LEGO® Education Maker (Design) Process
Science and Engineering Practices
3-5-ETS1. 1, 3-5-ETS1-2, 3-5-ETS1-3
Disciplinary Core Ideas
ETS1.B, (3-5-ETS1-2), (3-5-ETS1-3)
Common Core State Standards
RI.5.1, RI.5.7, W.5.8
Download to view and share the student worksheet.
Elysian ∆ Step Up 3 - Battle of Redhook
The next few weeks were filled with dancing and practicing for the battle at Redhook. Chris and Moose had gotten closer and Moose had figured out what is was about Chris that he liked so much.
She was herself. He liked her because she wasn't like any other person on this planet. She didn't worry about her makeup or her hair. She wasn't afraid to get sweaty and dirty when I came down to it. The day he figured that out was the day he also found out he had fallen for her. No, he wasn't sure if it was love yet, but he knew he liked her.
"Are y'all ready for a battle?" The referee screamed, causing and uproar in the crowd. Chris grinned as she looked at the crowd. They were ready for this. They had trained long and hard and they were finally ready.
"Redhook, are you ready?" The referee asks the opposing crew. Their leader slapped a powdery substance against his chest, causing powder to go everywhere.
"Pirates, are you ready?" The referee pointed his staff at the Pirates, who shouted back, signaling that they were indeed ready for the battle, "Let's go!"
And that's when the battle began.
The Redhooks went first, moving their body's together in a no doubt rehearsed routine. The flipped and jumped across the dance floor in a skilled manor.
Their turn ended and Pirates immediately jumped into action, doing their practiced routine. Their turn ended with the guys lifting Caleb into the air, him looking like a dead sacrifice.
The Redhooks had a short turn, doing their small dance ending in one of them sliding on his back before standing on his head and tipping over, landing on his stomach.
The Pirates got in a V formation and they bent the top part of their body's down before moving out of the way to let the ticks move to the center and do their solo while the rest of them dance behind the three amigos. They ended up in front of the opposing team and Jordan threw the white powder on them.
The Redhooks stepped up and got in the Pirates faces, two of the men stood facing each other before stepping apart to reveal a girl with slicked back hair in a tight French braid She began to move her glove clasped hand in all different ways.
Jason stepped forward and did his mini solo before the rest of the Pirates joined in on the dance. They stopped their dance and got in formation. Simultaneously, the Pirates began to move like robots. The ones on the right moved down slowly, and then the left side took their turn. Vladd robot walked his way to the front and did his solo. The rest of the Pirates crowded around him and he threw his fists down, sending them bending backwards and throwing powder into the air. Vladd stepped forward as the others stood up straight. Together, they pushed to the left slowly like a robot and Jordan did his breakdancing move. Then they pushed to the right, sending Darren into his breakdancing move. Jason moved up as he and Caleb danced beside Vladd while the others danced behind them. They moved their bodies up and down while Vladd moved his body in circular motions without moving his head from its place. The others jumped up and walked torwards the Redhooks with a form of cockiness and the crowd went wild. Everyone knew who won, the judges just had to confirm it.
"And the winner is!" The Judge shouted, stopping the two crews from any further fights, "The Pirates!"
Chris cheered loudly with her crew before she jumped into Moose's arms, hugging him tightly. Moose quickly hugged her back, before they both realized what they were doing. Springing apart, they continued to cheer with the Pirates.
"Pirates! pirates! pirates!" The crowd cheered, "Pirates! Pirates! Pirates!
Parker grinned from beside Luke as Natalie turned on his camera and started recording him.
"Now it's time for you to be in the camera my good looking Pirate." Martin told Luke.
"Would you like some makeup baby?" Parker laughed at their antics before turning to Luke.
"So," Natalie started, "Luke. "
"Give me the camera." Luke reached for the camera and Natalie moved it away from him.
"Nah, nah, nah." Parker told the older Boy, "It's your turn."
"It's not so easy on this side." Jason said putting his hand on Luke's shoulder.
"Yeah, Why don't you keep walking." Luke retorted.
"Ooh." Parker said before standing up and walking away with the others.
Parker walked up to Chris, who was dancing by herself in their practicing room.
"Wassup. " She asked before taking a seat in the floor.
"Nothing." Chris told her. She turned the music off before taking a seat beside the older girl. Chris looked glanced around before looking up at her, "How do you know if you like somebody?"
"When you don't want to kill them."
"No, I mean like like someone."
"Is this about a certain curly haired boy named Moose?" Parker noticed Chris' eyes widen before she squeaked out a small 'no.', "It's like the world stops when you look at them. Your heart speed up and it's like you can't breathe."
"Sounds brutal." Chris said with a sigh.
"Oh believe me, it is. " Parker told her younger friend.
"Is that what it's like for you and Eddy."
"Eddy and I are a come gelt different story." Parker said, "I like him, but I can't be with him because of my brother. They're best friends and I'm not going to ruin their friendship because I like him."
"Can't you at least talk about it with your brother?"
"Sean would flip his shit if he knew I liked Eddy, because he always came off as a player. But he's not. He's actually really sweet."
"Nothing is simple anymore."
"Nothing about a Relationship is simple. It's going to have its up and downs and people are always going to be there to criticize you."
Word count: 1,011
Aaaaaand here it is. I threw a little Parker and Chris brotp moment in their for ya.
Funky dance styles
A short preface
This is the third article devoted to various areas of what is called "upper breakdance" in Russia. The first work was devoted to the general history, as well as the Russian classification of modern dance styles. The second one contained some clarifications, again without going into all the variety of funk styles, as well as into their essence, with the goal of creating only a general idea of the subject. This work is a classification of funk styles known to me with a more or less accurate description of them. Most likely, this article is not the last, since the author, i.e. me, feels a strong need to pay special attention to locking, as well as its creator, Don Campbell, an outstanding person, whom the luminaries of street dance culture consider the father of all streetdancing in general and commercial hip -hop choreography in particular. So stay tuned for a new article with Campbell's biography and the history of locking.
Glossary (no alphabetical order)
- Animation - The style was born after the appearance in the seventies of numerous films about Sinbad the Sailor and the like, which used the specific claymation puppet animation technique. The movements of animated characters were not smooth, but choppy. In other words, each movement was divided into many small phases with stops when the doll was moved or the position of body parts was changed. Soviet viewers are familiar with such animation from old cartoons. The dancers tried to copy this visual effect, which resulted in the animation style. One of its sub-styles, by the way, is called just in honor of the film - Sindbad style. Animation has a lot in common with strobing and dimestop. The difference is only in the speed of movements, as well as the frequency of stops. The main content of animation is different types of gaits.
- Strobing - Imitation of movements in the light of a strobe. Again, everything consists of many small (or not so) phases / stops, with sharp transitions between them. The important thing is that for easy and correct execution of the style, the muscles must be relaxed. At first, this may seem difficult or even impossible, but by tightening the muscles, an exact repetition of the effect cannot be achieved. Mr. Wiggles recommends using movements or gestures that you are familiar with (putting on gloves, taking out a handkerchief, putting on a hat, etc.) for strobing. It is necessary to work out the gesture first smoothly and relaxing, then also smoothly, but with full muscle tension. Then, when you feel that the muscles have "remembered" the movement, relax and try to do the same with stops. Don't rush and don't stress. Everything will come with practice.
- Dimestop - Dimestop is both a style and a way to stop/fix. The name comes from the American "dime" - a quarter dollar coin, and "stop" - stop. This is explained by the fact that when a person studied this direction, he scattered coins around him. Stepping on a coin while moving, the dancer froze for a moment. Thus, dimestop is a quick stop of the whole body or part of it, but without (!) any impulse or push, as in hitting or popping. The original robot in the version of Robert Shields, a popular mime in the 70s, who is now the progenitor of botting, is performed just with the help of a dime stop. That is, there are no sharp muscle contractions, instead, the muscles are constantly in a slight tension in order to best control them.
- Floating/Gliding - Gliding is also a separate style among other funk styles, and a separate movement. In total, there are more than 40 of its variations, although I personally would not undertake to count. The most popular are glide - sliding left, right or along a geometric figure (circle, square), moonwalk - "moonwalk", popularized (but not invented!) by Michael Jackson, and perhaps "wiggle walk" - the creation of Mr. Wiggles, which is very difficult to describe, but looks very characteristic of its name (wiggle - zigzag). This, of course, not counting all kinds of knee glides - slips on your knees. Here it is necessary to make a digression and draw a clear line between gliding and floating. All of the above are glides. Under floats, the same Mr. Wiggles understands nothing more than elementary heel-toe walking. It is worth noting, however, that on the basis of this technique there is a separate dance “creep walk”, which is not directly related to our topic. The main idea behind all the glides is the same - the movement creates the illusion that you are moving in one direction, and you are smoothly carried off in the other (take, for example, the same “moonwalk” that was performed by other mimes, and in particular the great Marcel Marceau, and which was called "walk against the wind" - "walking against the wind"). As for the technique of performance, perhaps this is a matter of taste, but as one of the Western dancers said (I don’t remember who, but I agree with him), you need to slide as smoothly as possible. It means that your body should not bounce - shoulders, chest, head at the same level all the time. This is more complicated, and many do not pay attention to this detail when doing side glide. And in vain, because taking into account these features, the movement looks much more spectacular.
- Waving - Well, who does not know the waves. It is the waves, in combination with fixation, that in our country are called "electric boogie". Although, of course, this is not “boogie” at all, but wavering is one of the funk styles. The main idea behind it is an imitation of the fact that a wave or a bunch of energy is moving through your body. Rather, it is a visual effect, not an idea. There are a huge number of ideas behind wavering, as well as sub-styles. Within this direction, there are both ordinary waves and exaggerated waves - wide-amplitude waves, bounce waves - waves when each joint through which energy flows jumps like a ball, and only when it returns to its place, the next segment of the body begins to work, broken arm waves - waves, when the movement, say, on one hand, is illustrated by the other (meaning not tracking, but rather a kind of jacking), rock waves - this concept is not clear to me (more precisely, I'm not sure if I understand them correctly, so here I don’t I quote), as well as such a phenomenon as wavetracing - a wave with tracking (moreover, tracking is by no means necessarily performed with the palm of your hand) and much more. In fact, high-quality wavering looks very advantageous, but it takes more than one year of work to achieve it. You just need to realize that if you, as it seems to you, have learned to "make a wave", then this does not mean that you have learned to do it well. Waves require long and hard work on motion isolation.
- 3D - Information on this style is very scarce. We can only say that 3D is a combination of wave and strobing, when a wave traveling through your body breaks into more points than the number of joints through which it passes. In other words, “three de” is the same strobe waving, but, perhaps, with some features that are still silent about. The style was similarly discussed at Mr. Wiggles's forum. However, different sources still give different definitions, and, say, on the dance.net website forum, this style was defined almost as twist-o-flex. There was an explanation that 3D is when you move 3 parts of your body in turn, mainly the head, body and legs, and a description of the twistoflex was given.
- Bopping - Oh-oh! Bopping - yes! The secret style of the dancer Boppin' Dre (Andre), and the LA Bopping crew. The disciples of Boppin Dre founded a team that practices predominantly in this direction. In general, the word "bopping" came from the merger of the words "botting" and "popping", from which you can already infer the content of the style, given that "botting" is "robotting". The shortest definition is that bopping is a dancing robot. And the direction itself developed from the robot. However, if the robot itself is a hard, slow style with clear isolation, then bopping is much more dynamic. Boppin Dre himself says that the one who dances bopping moves the way an android (a machine that looks indistinguishable from a person) would move. The bopping technique is a secret behind seven locks, few people know about it, but if you have the opportunity, be sure to look at Boppin' Ron's clips on the Web. Ron is a very talented dancer, it's always a pleasure to look at him. In the Radiotron video (number five, I think, where they show the popping contest), he was dancing somewhere in the middle (curly hair, blond pants, a black T-shirt and a white shirt over it with some kind of drawings).
- King tut (tutting) - Um. King-tat is a widely known style among us, and I have already written about it. Translated from English, king tut - "King Tutankhamun", was originally an imitation of ancient Egyptian drawings depicting people in various poses. It was characteristic that in all movements right angles were observed between the body and arms, shoulder and forearm, forearm and wrist. The palms are even (or "boat"), fingers together, legs either together or at certain angles to the body. We don't know who was the first to start dancing tutting within funk styles. However, you need to immediately say about the execution technique - when you draw various complex geometric shapes with your body and hands, you can fixate, and this will be the main technique (as in popping) or not, but in any case, each pose, each angle must fall into the rhythm music. It is not known where the Russian tendency to dance king-tat “at speed” came from, in my opinion, is simply ridiculous and does not stand up to criticism - not only does it turn out just not to the music, but also the corners themselves are not visible. So if you want to keep up with the world, listen to the rhythm. King-tat as a style opens up a huge field for imagination, and looks great both in combination with other styles and separately.
- Digits/Spiderman/Finger waving - This is a very interesting topic that has not yet been raised by anyone in our country. What is it, all these "digits" and "spidermen"? The answer is both simple and complex in its simplicity. Once upon a time, Poppin' Pete, the brother of Boogaloo Sam, the founder of The Electric Boogaloos team, created the spiderman style, the essence of which was to work with the fingers. Have you imagined how you can depict a running spider with your palm? When does he quickly move his paws? These are approximately the movements that were included in the "spiderman". Subsequently, a wave of rave culture swept America, and then two styles of dance appeared that had nothing to do with funk - one was called "liquid", and the other "digits". We will not talk about the first one now, but the second one is a dance exclusively with fingers. That is, your palms and fingers perform certain sequences of movements, of course, to the music. Open your palm and try to squeeze it into a fist, bending finger after finger alternately. If you got a fan-shaped movement, you got an idea of \u200b\u200b"digits". However, do not think that everything is so simple. Qualitatively performed, this dance is simply mesmerizing. Unfortunately, today, you can see it only by searching the Internet for video clips. At one time, there were entire sections dedicated to liquid and digital videos. However, now it is not so easy to find them. Finger waving speaks for itself - finger waves, in various sequences and combinations. I would say that these directions are not for beginners, but if you want to noticeably raise your level, master finger wavng. The fact is that a person’s attention always involuntarily covers not the entire dancer as a whole, but only individual parts of the body. The hands and feet play a very important role. Therefore, mastering the "digits" will be a big step forward for you.
- Robot (botting) - Perhaps everyone has an idea of \u200b\u200bsuch a style as a "robot". It was he who at one time made a name for breakdancing in the Soviet Union (however, this is debatable). One of the founders of the botting (robotting) direction is the American mime Robert Shields. In the seventies, there was a show on television where your talented artists demonstrated the art of pantomime in various subjects. The show was called Shields & Yarnell (Yarnell was the name of Shields' partner). Perhaps this TV show is not the only one that served as an impetus for the creation of a dance direction, but in any case, it simply had a huge impact on dancing youth. Perhaps that is why Robert Shields is considered almost a living legend and enjoys great respect among people who know the history of funk styles. He himself, being already an elderly man, is the owner of a design company, but sometimes he chooses the time to show up at major events, such as Freestyle Session and Bboy Summit. "Robot" Shields is a classic, and he uses just the dimestop technique, although this is not necessary in modern times. In general, the secret of botting as a style lies, perhaps, in two things. In terms of technology, this, of course, is isolation. All movements should be isolated from each other as much as possible. In other words, if you, say, raise your hand, all other, involuntary, body movements should be completely excluded. "Isolation" is a term of pantomime, and you can read more about it in the relevant sources. The second secret lies in the attitude. As I don’t remember who said, you need to dance a robot in such a way that when looking at you, you don’t get the feeling that “a person is trying to portray a robot”, but on the contrary, “a robot is trying to portray a person, but it lacks movements for this.” The quote isn't exact, but that's the gist of it, and if you think about it, it's really the key point. There are some more important details. When the viewer looks at you in a dance, he subconsciously tries to find in what way you are NOT like a robot, as he realizes that you are actually NOT a robot. So it turns out that the viewer, even the most inexperienced, unconsciously looks for your mistakes. Moreover, attention is fixed not on the body as a whole, but on such things as hands, fingers and, of course, the face (in particular, the eyes). Therefore, the above parts of the body need to be given special attention, and if you give your robot the appropriate facial expressions, consider yourself a professional.
- Hitting/Ticking - Both of these terms have, in principle, a double meaning. On the one hand, they imply what is called "fixation", that is, a sharp contraction of the muscles and, as a result, a strong, or not very noticeable push. On the other hand, "ticking" can also be called its own direction in dance. Then we will keep in mind that the dancer uses sharp muscle contractions not at the beginning or end of the movement, but during it. In other words, “ticking” is like strobing, only smooth and with fixation. Thus, if you, say, raise your hand using the stroboscopic effect, you do it like this: (sharply up) - (pause) - (sharply up) - (pause). In ticking, a similar movement will be as follows: (smoothly up) - (tick) - (smoothly up) - (tick), where tick is a very fast and clear fixation. Of course, the set of movements here is unlimited, so it is by no means necessary to be limited to raising and lowering the arms.
- Strutting - Strutting as a style involves characteristic movements, that is, leg movements. In general, this, as you noticed, is not the first "style", which would be more accurately called a movement. But no, the grey-bearded founding fathers prefer to call everything styles. The essence of the movements is that a full step is divided into several small steps. Let's say you're standing, right foot in front, left foot in back, torso in the middle. In a normal walk, you shift your body weight onto your right foot and walk full length with your left so that it is in front and your right is behind. The simplest stratting will imply that first you put your left foot to your right, and only then step forward. Thus, your step is divided into two parts. You can, of course, divide it into smaller segments. You can add ticking here (fixing the body) or dimestop for every small step.
- Saccin' (Sacramento style) - Judging by the name, the style originated somewhere in Sacramento. Sekkin, again, implies characteristic movements of the legs, along with fixation. In general, as far as pops are danced in Russia, sekkin is also danced, since these are almost the only foot movements that we understand by the word "pops". In any case, as far as I have seen. You probably already guessed what saccin' is. However, I will try to describe. Pose, A: right leg behind, left leg in front, body in the middle, body weight on two legs. Pose B: everything is the same, only the legs have changed places - the right one in front, the left one in the back, the body remains in the same place. During the step, the leg that is in front moves first. She steps back, and then the other leg steps forward. Again, we repeat that the body remains in place, that is, the steps are performed without direct movement.
- Filmore - Filmore as a direction also takes its name from Filmore street (I think in Los Angeles). There is almost no exact description of this style anywhere, but if you see it in performance, you can almost certainly identify it. Fillmore, performed in the process of popping, implies hand movements, observing clear angles. Do not confuse with King Tat, Fillmore has nothing to do with Egypt. It's just that the arms are either straight or bent at a right angle. An analogy was given to soldiers marching with rifles in a parade. I don't know how legitimate she is. But again, the best way to get a final idea of the style is to look for video clips with it.
- Popping - I have already written about popping more than once, and yet it makes sense to repeat: popping is both a separate dance style, and at the same time the so-called umbrella term, that is, a general term for all funk styles. Although it is still incorrect to use it as a general term. To call the "upper" popping, and the "verkhoviks" poppers is, so to speak, uneducated speech, that is, uneducated speech. Although, for the most part, people still call dancers “poppers”, and not as some suggest - they say, if you make waves - you are a “waver”, if “king tat” - then “tatter” (by some I mean, of course, not the Russian-speaking part of the dancers). So, popping, as one of the funk styles, involves the rhythmic contraction of all the main muscle groups of the body to the music, creating a startle effect (“pop”, “hit” or whatever). At the same time, you move freely around the dance floor and your body takes various poses/positions in space. In general, the process of popping comes down to changing various poses to the rhythm along with fixation: on (boom - boom - boom - boom) goes (fix pose fix pose fix pose fix). The main music for popping is funk. Popping has a set of basic movements, such as, say, “fresno”, etc. By itself, in its purest form, it is not at all like what people used to understand as “upper breakdancing” in the former Soviet Union. However, popping is the most common funk style. Its creator is Sam Solomon (Sam Solomon, founder of The Electric Boogaloos).
- Boog (boogaloo) - Boogaloo is extremely difficult to describe, since no one dances this style in Russia (at least, apparently). His father is also Sam Solomon (Boogaloo Sam), and among many who have seen boogaloo performed by him, there is an opinion that it is impossible to learn how to dance this style the way Sam dances it. Boogaloo is a very fluid style, characterized by the fact that the body assumes unnatural poses, making smooth transitions between them. One of the basic movements are the so-called boogaloo rolls, literally "rolls". This does not mean that someone is rolling on the ground - just rolls mean the rotation of various parts of the body - legs (leg rolls), hips (hip rolls), chest (chest rolls) and so on. When executed, rolls sometimes give the illusion of a wave, but they are not waves nonetheless. If you can watch Boogaloo Sam dance, you will see Boogaloo in action.
- Snaking - A style that includes several sub-styles. Snaking was created during the dawn of funk culture by members of the Mysterious Poppers. The dancers in this group had such names as King Snake, King Cobra, King Python and each had their own version of snaking in their arsenal. The most common of them, and, perhaps, the hallmark of the whole style, was the "cobra". If you give it a definition, it is a complex, multi-component wave. The meaning of the cobra is in the simultaneous rotation of the head, shoulders (in different directions, one clockwise, the other against), rotation of the chest (in the direction opposite to the head), hips, as well as certain leg work (when during rotation the right shoulder is from below, you bend the right leg, thus putting the knee forward, and when the left shoulder is below, vice versa).
- Slowmo - Slowmo (short for slow motion - slow motion) is a style that can be seen using a VCR with a slow motion function. Unless, of course, it's not important for you to see him dancing and accompanied by music. But in general, you probably already guessed about the content - it's all the same imitation of slow-motion playback of a video or film. Slowmo looks very impressive, subject to high-quality performance. For example, at some point in the dance, you can sharply slow down to the rhythm of the music and repeat the movements already performed, but only slowly, and then speed up sharply, or vice versa, slow down slowly and come to a complete stop. Most importantly, make sure you get into the rhythm of the music. And, of course, pay attention to the same small details as in botting, because, say, "slowing down" the whole body, but not slowing down the feet, hands and head, you will spoil the whole effect.
© 2003–2004 Vladimir Sheremetiev
If you are planning to use this material in a public or commercial project (such as publishing in a magazine or on a website), please contact me [email protected] before doing so. .ru; [email protected]
Miniature hydrogel robot will break dance under water / Habr
Original author: by Northwestern University
Engineers often look for solutions to technical problems in nature. This approach is called bionics. For example, miniature drones have recently been developed in South Korea that mimic the wings of rhinoceros beetles.
A new project was presented by scientists from Northwestern University, USA. They have developed a miniature octopus robot (although it has only four legs) that will pick up and transport loads, overcome bumps and even dance an underwater break.
So far, its dimensions do not exceed one centimeter, but it can already walk in the rhythm of human walking (albeit much more slowly due to its size), and without the use of sophisticated equipment, hydraulics or electricity, according to Science Robotics.
The project was carried out under the direction of Samuel Stupp, professor in the Department of Materials Science at the university. His previous model could crawl on the underwater surface, taking one step every 12 hours. The new one takes one step per second.
The robot frame is made of ferromagnetic nickel threads. They support the main body of the robot, which consists of a hydrogel that reacts to light and magnetic fields, and consists of 90% water. When exposed to light, the hydrogel becomes hydrophobic. Water molecules are displaced, the robot changes shape and "comes to life". When the light is turned off, the molecules return to their original state, and the robot becomes flat and immobile.
Light shape manipulation helps the robot pick up the load, drop it, and if the load is sticky, the robot performs a spinning “break dance” to get rid of it.
The new robots can be used to recognize and remove unwanted particles in certain environments, catalyze chemical reactions, or deliver biotherapeutic drugs or cells to certain tissues, for example.