| Rhizome/MyZone: A case study in studio-based dance research K Vincs Deakin University, 2007 | 76 | 2007 |
| Body armor, performance, and physiology during repeated high-intensity work tasks B Larsen, K Netto, D Skovli, K Vincs, S Vu, B Aisbett Military medicine 177 (11), 1308-1315, 2012 | 51 | 2012 |
| Dancing between diversity and consistency: Refining assessment in postgraduate degrees in dance M Phillips, C Stock, K Vincs Western Australian Academy of Performing Arts, Edith Cowan University, 2009 | 38 | 2009 |
| Snapshots of complexity: using motion capture and principal component analysis to reconceptualise dance K Vincs, K Barbour Digital Creativity 25 (1), 62-78, 2014 | 33 | 2014 |
| Teaching a digital performing agent: Artificial neural network and hidden markov model for recognising and performing dance movement J McCormick, K Vincs, S Nahavandi, D Creighton, S Hutchison Proceedings of the 2014 International Workshop on Movement and Computing, 70-75, 2014 | 28 | 2014 |
| Identifying regions of good agreement among responders in engagement with a piece of live dance E Schubert, K Vincs, CJ Stevens Empirical Studies of the Arts 31 (1), 1-20, 2013 | 27 | 2013 |
| Touching space: Using motion capture and stereo projection to create a “virtual haptics” of dance K Vincs, J McCormick Leonardo 43 (4), 359-366, 2010 | 22 | 2010 |
| Long-Term Memory for Contemporary Dance is Distributed and Collaborative E Stevens, Catherine, Vincs, Kim, deLahunta, Scott & Old Acta Psychologica 194, 17-27, 2019 | 19 | 2019 |
| In the heat of the moment: audience real-time response to music and dance performance CJ Stevens, RT Dean, K Vincs, E Schubert Coughing and clapping: Investigating audience experience, 69-88, 2016 | 18 | 2016 |
| Learning to dance with a human. J McCormick, K Vincs, S Nahavandi, D Creighton ISEA International, 2013 | 16 | 2013 |
| Measuring responses to dance: is there a'grammar'of dance K Vincs, E Schubert, CJ Stevens Dance Dialogues: Conversations Across Cultures, Artforms and Practices …, 2008 | 14 | 2008 |
| On an/notations S DeLahunta, K Vincs, S Whatley Performance Research 20 (6), 1-2, 2015 | 13 | 2015 |
| Measuring audience response on-line: An evaluation of the portable audience response facility (pARF) C Stevens, E Vincs, E Schubert Second International Conference on Music Communication Science, Sydney …, 2009 | 13 | 2009 |
| Follow your heart and something will come: Subjective factors in the sustainability of early to mid career contemporary dance artists K Vincs Deakin University, 2004 | 13 | 2004 |
| Dancing in suits: a performer's perspective on the collaborative exchange between self, body, motion capture, animation and audience. S Hutchison, K Vincs ISEA International, 2013 | 12 | 2013 |
| Rhizome/MyZone: The production of subjectivity in dance K Vincs Approaches to Creative Arts Enquiry, 2001 | 11 | 2001 |
| Virtualizing Dance K Vincs The Oxford Handbook of Screendance Studies, 263-282, 2016 | 10 | 2016 |
| Our Sherlockian eyes: The surveillance of vision S Redmond, J Sita, K Vincs Deakin University, 2015 | 10 | 2015 |
| Emergent behaviour: learning from an artificially intelligent performing software agent J McCormick, S Hutchinson, K Vincs, J Vincent Deakin University, 2015 | 10 | 2015 |
| Navigating control and illusion: functional interactivity versus ‘faux-interactivity’in transmedia dance performance JB Vincent, C Vincent, K Vincs, J McCormick International Journal of Performance Arts and Digital Media 12 (1), 44-60, 2016 | 9 | 2016 |
