Joint action aesthetics.
Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of perf...
| Main Authors: | , , , , |
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| Format: | Article |
| Language: | English |
| Published: |
Public Library of Science (PLoS)
2017-01-01
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| Series: | PLoS ONE |
| Online Access: | http://europepmc.org/articles/PMC5526561?pdf=render |
| _version_ | 1811282675108937728 |
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| author | Staci Vicary Matthias Sperling Jorina von Zimmermann Daniel C Richardson Guido Orgs |
| author_facet | Staci Vicary Matthias Sperling Jorina von Zimmermann Daniel C Richardson Guido Orgs |
| author_sort | Staci Vicary |
| collection | DOAJ |
| description | Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers' movements, and the spectators' affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators' heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance-and perhaps all performing arts-in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts. |
| first_indexed | 2024-04-13T01:56:49Z |
| format | Article |
| id | doaj.art-0c8fca6776de4532a3cd36a4791b0001 |
| institution | Directory Open Access Journal |
| issn | 1932-6203 |
| language | English |
| last_indexed | 2024-04-13T01:56:49Z |
| publishDate | 2017-01-01 |
| publisher | Public Library of Science (PLoS) |
| record_format | Article |
| series | PLoS ONE |
| spelling | doaj.art-0c8fca6776de4532a3cd36a4791b00012022-12-22T03:07:44ZengPublic Library of Science (PLoS)PLoS ONE1932-62032017-01-01127e018010110.1371/journal.pone.0180101Joint action aesthetics.Staci VicaryMatthias SperlingJorina von ZimmermannDaniel C RichardsonGuido OrgsSynchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers' movements, and the spectators' affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators' heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance-and perhaps all performing arts-in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts.http://europepmc.org/articles/PMC5526561?pdf=render |
| spellingShingle | Staci Vicary Matthias Sperling Jorina von Zimmermann Daniel C Richardson Guido Orgs Joint action aesthetics. PLoS ONE |
| title | Joint action aesthetics. |
| title_full | Joint action aesthetics. |
| title_fullStr | Joint action aesthetics. |
| title_full_unstemmed | Joint action aesthetics. |
| title_short | Joint action aesthetics. |
| title_sort | joint action aesthetics |
| url | http://europepmc.org/articles/PMC5526561?pdf=render |
| work_keys_str_mv | AT stacivicary jointactionaesthetics AT matthiassperling jointactionaesthetics AT jorinavonzimmermann jointactionaesthetics AT danielcrichardson jointactionaesthetics AT guidoorgs jointactionaesthetics |