A norming study and library of 203 dance movements

Perception

Volumn 43, Issue 2-3, 2014, Pages 178-206

  Christensen, Julia F ^a   Nadal, Marcos ^b   Cela Conde, Camilo José ^a   Gomila, Antoni ^a  

^a UNIVERSITAT DE LES ILLES BALEARS   (Spain)

^b UNIVERSITY OF VIENNA   (Austria)

Author keywords

Action perception; Affect; Dance; Laban; Movement library

Indexed keywords

ADULT; AFFECT; AROUSAL; ARTICLE; CONTROLLED CLINICAL TRIAL; CONTROLLED STUDY; DANCING; ESTHETICS; FEMALE; HUMAN; LIBRARY; MALE; METHODOLOGY; MOVEMENT (PHYSIOLOGY); PHOTOSTIMULATION; PHYSIOLOGY; RANDOMIZED CONTROLLED TRIAL; STATISTICS; STUDENT; VIDEORECORDING; VISION; YOUNG ADULT;

ADULT; AFFECT; AROUSAL; BEAUTY; DANCING; FEMALE; HUMANS; LIBRARIES; MALE; MOVEMENT; PHOTIC STIMULATION; STUDENTS; VIDEOTAPE RECORDING; VISUAL PERCEPTION; YOUNG ADULT;

EID: 84898407068     PISSN: 03010066     EISSN: None     Source Type: Journal    
DOI: 10.1068/p7581     Document Type: Article

References (84)

1. Atkinson, A. P., Dittrich, W. H., Gemmell, A. J., & Young, A. W. (2004). Emotion perception from dynamic and static body expressions in point-light and full-light displays. Perception, 33, 717-746.
2. Atkinson, A. P., Vuong, Q. C., & Smithson, H. E. (2012). Modulation of the face- and body-selective visual regions by the motion and emotion of point-light face and body stimuli. NeuroImage, 59, 1700-1712.
3. Bastiaansen, J. A., Thioux, M., & Keysers, C. (2009). Evidence for mirror systems in emotions. Philosophical Transactions of the Royal Society of London B: Biological Sciences, 364, 2391-2404.
4. Berlyne, D. E. (1974). Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic appreciation. Washington, DC: Hemisphere.
5. Bläsing, B., Calvo-Merino, B., Cross, E. S., Jola, C., Honisch, J., & Stevens, C. J. (2012). Neurocognitive control in dance perception and performance. Acta Psychologica, 139, 300-308.
6. Bläsing, B., Tenenbaum, G., & Schack, T. (2009). The cognitive structure of movements in classical dance. Psychology of Sport and Exercise, 10, 350-360.
7. Blood, A. J., & Zatorre, R. J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences of the USA, 98, 11818-11823.
8. Bobick, A. F. (1997). Movement, activity and action: The role of knowledge in the perception of motion. Philosophical Transactions of the Royal Society of London B: Biological Sciences, 352, 1257-1265.
9. Boone, R. T., & Cunningham, J. G. (1998). Children's decoding of emotion in expressive body movement: the development of cue attunement. Developmental Psychology, 34, 1007-1016.
10. Bramao, I., Faisca, L., Forkstam, C., Reis, A., & Petersson, K. M. (2010). Cortical brain regions associated with colour processing: an FMRI study. The Open Neuroimaging Journal, 4, 164-173.
11. Brattico, E., Bogert, B., & Jacobsen, T. (2013). Toward a neural chronometry for the aesthetic experience of music. Frontiers in Psychology, 4, 1-21.
12. Brown, S., Martinez, M. J., & Parsons, L. M. (2006). The neural basis of human dance. Cerebral Cortex, 16, 1157-1167.
13. Brownlow, S., Dixon, A. R., Egbert, C. A., & Radcliffe, R. D. (1997). Perception of movement and dancer characteristics from point-light displays of dance. Psychological Record, 47, 411-421.
14. Bullot, N. J., & Reber, R. (2013). The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation. Behavioral and Brain Sciences, 36, 123-137.
15. Calvo-Merino, B., Ehrenberg, S., Leung, D., & Haggard, P. (2010a). Experts see it all: configural effects in action observation. Psychological Research, 74, 400-406.
16. Calvo-Merino, B., Glaser, D. E., Grèzes, J., Passingham, R. E., & Haggard, P. (2005a). Action observation and acquired motor skills: An f MRI study with expert dancers. Cerebral Cortex, 15, 1243-1249.
17. Calvo-Merino, B., Grèzes, J., Glaser, D. E., Passingham, R. E. R., & Haggard, P. (2005b). The influence of visual and motor familiarity during action observation: An f MRI study using expertise. Journal of Cognitive Neuroscience 115. Poster presented at 12th Annual Meeting of the Cognitive-Neuroscience-Society, New York. Retrieved from http://www.icn.ucl.ac.uk/technical-support/posters/pdf/Calvo_CNS2005.pdf
18. Calvo-Merino, B., Jola, C., Glaser, D. E., & Haggard, P. (2008). Towards a sensorimotor aesthetics of performing art. Consciousness and Cognition, 17, 911-922.
19. Calvo-Merino, B., Urgesi, C., Orgs, G., Aglioti, S. M., & Haggard, P. (2010b). Extrastriate body area underlies aesthetic evaluation of body stimuli. Experimental Brain Research, 204, 447-456.
20. Camurri, A., Lagerlof, I., & Volpe, G. (2003). Recognizing emotion from dance movement: comparison of spectator recognition and automated techniques. International Journal of Human-Computer Studies, 59, 213-225.
21. Camurri, A., Volpe, G., De Poli, G., & Leman, M. (2005). Communicating expressiveness and affect in multimodal interactive systems. IEEE Multimedia, 12, 43-53.
22. Castellano, G., Villalba, S. D., & Camurri, A. (2007). Recognizing human emotions from body movement and gesture dynamics. Affective Computing and Intelligent Interaction: Lecture Notes in Computer Science, 4738, 71-82.
23. Cattaneo, Z., Lega, C., Flexas, A., Nadal, M., Munar, E., & Cela-Conde, C. J. (2013). The world can look better: enhancing beauty experience with brain stimulation. Social Cognitive and Affective Neuroscience. Advance publication retrieved from doi:10.1093/scan/nst165
24. Chatterjee, A. (2003). Prospects for a cognitive neuroscience of visual aesthetics. Bulletin of Psychology and the Arts, 4, 55-60.
25. Chatterjee, A. (2011). Neuroaesthetics: A coming of age story. Journal of Cognitive Neuroscience, 23, 53-62.
26. Christensen, J. F., & Calvo-Merino, B. (2013). Dance as a subject for empirical aesthetics. Psychology of Aesthetics, Creativity, and the Arts, 7, 76-88.
27. Cross, E. S., Hamilton, A. F. de C., & Grafton, S. T. (2006). Building a motor simulation de novo: Observation of dance by dancers. NeuroImage, 31, 1257-1267.
28. Cross, E. S., Kirsch, L., Ticini, L. F., & Schütz-Bosbach, S. (2011). The impact of aesthetic evaluation and physical ability on dance perception. Frontiers in Human Neuroscience, 5(102), 1-10.
29. Cross, E. S., & Ticini, L. F. (2011). Neuroaesthetics and beyond: new horizons in applying the science of the brain to the art of dance. Phenomenology and the Cognitive Sciences, 11, 5-16.
30. Cupchik, G. C., Vartanian, O., Crawley, A., & Mikulis, D. J. (2009). Viewing artworks: Contributions of cognitive control and perceptual facilitation to aesthetic experience. Brain and Cognition, 70, 84-91. doi: 10.1016/j.bandc.2009.01.003.
31. Dahl, S., & Friberg, A. (2007). Visual perception of expressiveness in musicians' body movements. Music Perception, 24, 433-454.
32. Daprati, E., Iosa, M., & Haggard, P. (2009). A dance to the music of time: Aesthetically-relevant changes in body posture in performing art. PLoS ONE, 4, 1-11.
33. de Gelder, B. (2009). Why bodies? Twelve reasons for including bodily expressions in affective neuroscience. Philosophical Transactions of the Royal Society of London B: Biological Sciences, 12(364), 3475-3484.
34. De Meijer, M. (1989). The contribution of general features of body movement to the attribution of emotions. Journal of Nonverbal Behavior, 13, 247-268.
35. Dittrich, W. H., Troscianko, T., Lea, S. E. G., & Morgan, D. (1996). Perception of emotion from dynamic point-light displays represented in dance. Perception, 25, 727-738.
36. Freedberg, D., & Gallese, V. (2007). Motion, emotion and empathy in esthetic experience. Trends in Cognitive Sciences, 11, 197-203.
37. Grosbras M.-H., Tan, H., & Pollick, F. (2012). Dance and emotion in posterior parietal cortex: a low-frequency rTMS study. Brain Stimulation, 5, 130-136.
38. Gross, M. M., Crane, E. A., & Fredrickson, B. L. (2010). Methodology for assessing bodily expression of emotion. Journal of Nonverbal Behavior, 34, 223-248.
39. Hänggi, J., Koeneke, S., Bezzola, L., & Jancke, L. (2010). Structural neuroplasticity in the sensorimotor network of professional female ballet dancers. Human Brain Mapping, 31, 1196-1206.
40. Hejmadi, A., Davidson, R. J., & Rozin, P. (2000). Exploring Hindu Indian emotion expressions: Evidence for accurate recognition by Americans and Indians. Psychological Science, 11, 183-187.
41. Hunter, P. G., Schellenberg, E. G., & Schimmack, U. (2010). Feelings and perceptions of happiness and sadness induced by music: Similarities, differences, and mixed emotions. Psychology of Aesthetics Creativity, and the Arts, 4, 47-56.
42. Indovina, I., Maffei, V., Pauwels, K., Macaluso, E., Orban, G. A., & Lacquaniti, F. (2013). Simulated self-motion in a visual gravity field: sensitivity to vertical and horizontal heading in the human brain. NeuroImage, 71, 114-124.
43. Jang, S. H., & Pollick, F. E. (2011). Experience influences brain mechanisms of watching dance. Dance Research Journal, 29, 352-377.
44. Jola, C., Abedian-Amiri, A., Kuppuswamy, A., Pollick, F., & Grosbras, M.-H. (2012b). Motor simulation without motor expertise: enhanced corticospinal excitability in visually experienced dance spectators. PLoS ONE, 7(3): e33343
45. Jola, C., Clements, L., & Christensen, J. F. (2012a). Moved by stills: Kinesthetic sensory experiences in viewing dance photographs. Seeing and Perceiving, 25 (Supplement) 80-81.
46. Jola, C., Ehrenberg, S., & Reynolds, D. (2011a). The experience of watching dance: phenomenological- neuroscience duets. Phenomenological Cognitive Sciences, 11, 17-37.
47. Jola, C., & Grosbras, M. H. (2013). In the here and now: Enhanced motor corticospinal excitability in novices when watching live compared to video recorded dance. Cognitive Neuroscience, 4, 90-98.
48. Jola, C., McAleer P., Grosbras, M. H., Love, S. A., Morison, G., & Pollick, F. E. (2013). Uni- and multisensory brain areas are synchronized across spectators when watching unedited dance recordings. i-Perception, 4, 1-20.
49. Jola, C., Pollick, F., & Grosbras, M.-H. (2011b). Arousal decrease in Sleeping Beauty: Audiences' neurophysiological correlates to watching a narrative dance performance of 2.5 hrs. Dance Research Journal, 29, 378-403.
50. Juslin, P. N., & Västfjäll, D. (2008). Emotional responses to music: the need to consider underlying mechanisms. Behavioral Brain Science, 31, 559-621.
51. Kanwisher, N., McDermott, J., & Chun, M. M. (1997). The fusiform face area: A module in human extrastriate cortex specialized for face perception. Journal of Neuroscience, 17, 4302-4311.
52. Kreibig, S. D. (2010). Autonomic nervous system activity in emotion: A review. Biological Psychology, 84, 394-421.
53. Kret, M. E., Pichon, S., Grèzes, J., & de Gelder, B. (2011). Similarities and differences in perceiving threat from dynamic faces and bodies. An f MRI study. NeuroImage, 54, 1755-1762.
54. Laban, R. (1988). The mastery of movement. Plymouth, Devon: Northcote House.
55. Lagerlöf, I., & Djerf, M. (2002). Children's understanding of emotion in dance. European Journal of Developmental Psychology, 6, 409-431.
56. Lang, P. J., Bradley, M. M., & Cuthbert, B. N. (2008). International affective picture system (IAPS): Affective ratings of pictures and instruction manual. Technical Report A-8, University of Florida, Gainsville.
57. Leder, H., Augustin, D., & Belke, B. (2005). Art and cognition! Consequences for experimental aesthetics. Bulletin of Psychology and the Arts, 2, 11-20.
58. Leder, H., Belke, B., Oeberst, A., & Augustin, M. D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95, 489-508.
59. LeDoux, J. E. (2012). Rethinking the emotional brain. Neuron, 73, 653-676.
60. Ma, I., Paterson, H. M., & Pollick, F. E. (2006). A motion capture library for the study of identity, gender, and emotion perception from biological motion. Behaviour Research Methods, 38, 134-141.
61. Miura, N., Sugiura, M., Takahashi, M., Sassa, Y., Miyamoto, A., Sato, S., Horie, K.,... & Kawashima, R. (2010). Effect on motion smoothness on bran activity while observing a dance: An f MRI study using a humanoid robot. Social Neuroscience, 5, 40-58.
62. Montepare, J., Koff, E., Zaitchik, D., & Albert, M. (1999). The use of body movements and gestures as cues to emotions in younger and older adults. Journal of Nonverbal Behavior, 23, 133-152.
63. Montepare, J. M., Goldstein, S. B., & Clausen, A. (1987). The identification of emotions from gait information. Journal of Nonverbal Behavior, 11, 33-42.
64. Orgs, G., Hagura, N., & Haggard, P. (2013). Learning to like it: Aesthetic perception of bodies, movements and choreographic structure. Consciousness and Cognition, 11, 603-612.
65. Pollick, F. E., Kay, J., Heim, K., & Stringer, R. (2005). Gender recognition from point-light walkers. Journal of Experimental Psychology: Human Perception and Performance, 31, 1247-1265.
66. Pollick, F. E., Lestou, V., Ryu, J., & Cho, S. B. (2002). Estimating the efficiency of recognizing gender and affect from biological motion. Vision Research, 42, 2345-2355.
67. Pollick, F. E., Paterson, H., Bruderlin, A., & Sanford, A. J. (2001). Perceiving affect from arm movement. Cognition, 82, B51-B61.
68. Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: Is beauty in the perceiver's processing experience. Personality and Social Psychology Review, 8, 364-382.
69. Reeves, B., Lang, A., Young Kim, E., & Tatar, D. (1999). The effects of screen size and message content on attention and arousal. Media Psychology, 1, 49-67.
70. Salimpoor, V. N., Benovoy, M., Longo, G., Cooperstock, J. R., & Zatorre, R. J. (2009). The rewarding aspects of music listening are related to degree of emotional arousal. PLoS ONE, 4(10): e7487.
71. Salimpoor, V., van den Bosch, I., Kovacevic, N., Randal McIntosh, A., Dagher, A., & Zatorre, R. J. (2013). Interactions between the nucleus accumbens and auditory cortices predict music reward value. Science, 340, 216-219.
72. Shimamura, A. P. (2012). Toward a science of aesthetics-Issues and ideas. In A. P. Shimamura, & S. E. Palmer (Eds.), Aesthetic science: Connecting minds, brains and experiences (pp. 3-28). Oxford: Oxford University Press.
73. Stevens, C. J., Schubert, E., Morris, R. H., Frear, M., Chen, J., Healey, S.,... & Hansen, S. (2009b). Cognition and the temporal arts: Investigating audience response to dance using PDAs that record continuous data during live performance. International Journal of Human-Computer Studies, 67, 800-813.
74. Stevens, C., Vincs, E., & Schubert, E. (2009a). Measuring audience response on-line: an evaluation of the portable audience response facility (pARF). Second International Conference on Music Communication Science, MARCS Auditory Labs, Sydney.
75. Talmy, L. (1983). How language structures space. In H. Pick & L. Acredolo (Eds.), Spatial orientation: Theory, research and application (pp. 225-282). New York: Plenum.
76. Talmy, L. (1985). Lexicalization patterns: Semantic structure in lexical forms. In T. Shopen (Ed.), Language typology and syntactic description (pp. 57-149). New York: Cambridge University Press.
77. Talmy, L. (2000a). Concept structuring systems: Toward a cognitive semantics. Cambridge, MA: MIT Press.
78. Talmy, L. (2000b). Concept structuring systems: Typology and process in concept structuring. Cambridge, MA: MIT Press.
79. Thoma, P., Soria Bauser, D., & Suchan, B. (2012). BESST. Bochum Emotional Stimulus Set-A pilot validation study of a stimulus set containing emotional bodies and faces from frontal and averted view. Psychiatry Research, 209, 98-109.
80. Vaganova, A. (1969). Basic principles of classical ballet: Russian ballet technique. Mineola, NY: Dover Publications Inc.
81. Vieillard, S., Peretz, I., Gosselin, N., Khalfa, S., Gagnon, L., & Bouchard, B. (2008). Happy, sad, scary and peaceful musical excerpts for research on emotions. Cognition & Emotion, 22, 720-752.
82. Vincs, E., Stevens C., & Schubert E. (2009). Effects of observer experience on continuous measures of engagement with a contemporary dance work. ASCS09: 9th Conference of the Australasian Society for Cognitive Science, Sydney.
83. Wu, D. H., Morganti, A., & Chatterjee, A. (2008). Neural substrates of processing path and manner information of a moving event. Neuropsychologica, 46, 704-713.
84. Zago, M., & Lacquaniti, F. (2005). Cognitive, perceptual and action-oriented representations of falling objects. Neuropsychologica, 43, 178-188.