Drawing is one of the basic skills in learning art, it is a necessary skill for beginners to master. The acquisition of skills by individuals is difficult and is acquired by correct repetition. The purpose of this study is to build a drawing learning support system for beginners in a network environment. The student can obtain evaluation and advice from the tutor without being restricted by time and place. In this paper considers the possibility to drawing study support based on the drawing process data of the students in 2013 to 2016 about the drawing process graph designed from experts' drawing process.

As a result of the experiment, behaviors of some collaborators who reported that the experiment was difficult did not fluctuate too much. On the other hand, some collaborators who did not report that it was difficult showed wobbling behaviors. We think that the dynamical skill responded to such an unstable situation is the key to mastery.

To design and create the architecture that useful for society, identifying the requirements in the architecture and identifying the requirements is a basis to design creation of architecture. We built a model of how to identify the kansei requirements that can be utilized at the process of design creation in architecture. Considering previous studies on existing environmental psychology survey methods, we proposed a new method combinatorically developed taking into consideration the features and problems of each method. Focusing on the latency of the kansei requirements, it was required to clarify the kansei requirements in detail according to the actual situation, and examined the subjective thinking method to encourage the utterance by subjecting it subjectively. We proposed an observation model for the kansei requirements and examined the method.

In this research, we propose a method to find 「Morioka Sansa Odori」 and which movement causes quality difference. In the proposed method, we tried to narrow down the features from the histogram using the waist acceleration data. As a result, we were able to estimate the difference in the quality of the dancer, which was not known only by the time series waveform of the waist, and narrowing down the focus points and the motion by intersecting the histogram.

Generally, skill learning is a design, as devising courses of action aimed at changing existing situation into preferred ones. In this paper, we will raise a hypothesis "Athletes should do Savage practice.", from first author's learning practice in track and field. Savage practice means that an athlete do Bricolage in one's body movements and the physical environment in his or her real life situations. This research is a Hypothesis-Generative Research which is a suitable methodology for Clinical Knowledge.

In ballroom dance leader (male) dances with partner (female). The skills for pair dancing has not been investigated. The purpose of this study is to investigate movement interaction between the leader and the partner during ballroom dancing. The world competitive ballroom dance champion couple participated in the study. The Xsens system consisting of inertial measurement units was used to measure body positions at 240 Hz. The participants danced waltz under three conditions. The leader danced by himself. The partner danced by herself. The leader and the partner danced together. In particular, the movement interaction was found in kinetic energy.

In the domains of performing arts, such as dance and theater, how do people generate their novel works? This study conducted a case study over several days to capture the creative processes of expert breakdancers to investigate the long-term creative process in performing arts domains. We analyzed these processes using a visualization method of the body parts on which the dancer focused and the movement data measured using a motion capture system. The results suggest that the body parts under focus and the dancers' ideas changed drastically during the creation process. The understandings and interpretations of some specific domain knowledge and skills that also changed during the processes served as the internal constraints on the dancers' generation of novel ideas. In addition, the embodiment of the ideas (externalizing the ideas as movements) facilitated changes to the dancers' understandings and interpretations.