A 5-emotions stimuli set for emotion perception research with full-body dance movements
Abstract Ekman famously contended that there are different channels of emotional expression (face, voice, body), and that emotion recognition ability confers an adaptive advantage to the individual. Yet, still today, much emotion perception research is focussed on emotion recognition from the face,...
| Main Authors: | , , , , , , , |
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| Format: | Article |
| Language: | English |
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Nature Portfolio
2023-05-01
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| Series: | Scientific Reports |
| Online Access: | https://doi.org/10.1038/s41598-023-33656-4 |
| _version_ | 1797811481850413056 |
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| author | Julia F. Christensen Laura Bruhn Eva-Madeleine Schmidt Nasimeh Bahmanian Sina H. N. Yazdi Fahima Farahi Luisa Sancho-Escanero Winfried Menninghaus |
| author_facet | Julia F. Christensen Laura Bruhn Eva-Madeleine Schmidt Nasimeh Bahmanian Sina H. N. Yazdi Fahima Farahi Luisa Sancho-Escanero Winfried Menninghaus |
| author_sort | Julia F. Christensen |
| collection | DOAJ |
| description | Abstract Ekman famously contended that there are different channels of emotional expression (face, voice, body), and that emotion recognition ability confers an adaptive advantage to the individual. Yet, still today, much emotion perception research is focussed on emotion recognition from the face, and few validated emotionally expressive full-body stimuli sets are available. Based on research on emotional speech perception, we created a new, highly controlled full-body stimuli set. We used the same-sequence approach, and not emotional actions (e.g., jumping of joy, recoiling in fear): One professional dancer danced 30 sequences of (dance) movements five times each, expressing joy, anger, fear, sadness or a neutral state, one at each repetition. We outline the creation of a total of 150, 6-s-long such video stimuli, that show the dancer as a white silhouette on a black background. Ratings from 90 participants (emotion recognition, aesthetic judgment) showed that intended emotion was recognized above chance (chance: 20%; joy: 45%, anger: 48%, fear: 37%, sadness: 50%, neutral state: 51%), and that aesthetic judgment was sensitive to the intended emotion (beauty ratings: joy > anger > fear > neutral state, and sad > fear > neutral state). The stimuli set, normative values and code are available for download. |
| first_indexed | 2024-03-13T07:24:13Z |
| format | Article |
| id | doaj.art-5362a34dd8364576b3763419c4bfd5b6 |
| institution | Directory Open Access Journal |
| issn | 2045-2322 |
| language | English |
| last_indexed | 2024-03-13T07:24:13Z |
| publishDate | 2023-05-01 |
| publisher | Nature Portfolio |
| record_format | Article |
| series | Scientific Reports |
| spelling | doaj.art-5362a34dd8364576b3763419c4bfd5b62023-06-04T11:28:48ZengNature PortfolioScientific Reports2045-23222023-05-0113111610.1038/s41598-023-33656-4A 5-emotions stimuli set for emotion perception research with full-body dance movementsJulia F. Christensen0Laura Bruhn1Eva-Madeleine Schmidt2Nasimeh Bahmanian3Sina H. N. Yazdi4Fahima Farahi5Luisa Sancho-Escanero6Winfried Menninghaus7Department of Language and Literature, Max-Planck-Institute for Empirical AestheticsDepartment of Language and Literature, Max-Planck-Institute for Empirical AestheticsDepartment of Language and Literature, Max-Planck-Institute for Empirical AestheticsDepartment of Language and Literature, Max-Planck-Institute for Empirical Aesthetics3Fish Corporate Filmmaking3Fish Corporate FilmmakingPfalztheater Kaiserslautern Dance CompanyDepartment of Language and Literature, Max-Planck-Institute for Empirical AestheticsAbstract Ekman famously contended that there are different channels of emotional expression (face, voice, body), and that emotion recognition ability confers an adaptive advantage to the individual. Yet, still today, much emotion perception research is focussed on emotion recognition from the face, and few validated emotionally expressive full-body stimuli sets are available. Based on research on emotional speech perception, we created a new, highly controlled full-body stimuli set. We used the same-sequence approach, and not emotional actions (e.g., jumping of joy, recoiling in fear): One professional dancer danced 30 sequences of (dance) movements five times each, expressing joy, anger, fear, sadness or a neutral state, one at each repetition. We outline the creation of a total of 150, 6-s-long such video stimuli, that show the dancer as a white silhouette on a black background. Ratings from 90 participants (emotion recognition, aesthetic judgment) showed that intended emotion was recognized above chance (chance: 20%; joy: 45%, anger: 48%, fear: 37%, sadness: 50%, neutral state: 51%), and that aesthetic judgment was sensitive to the intended emotion (beauty ratings: joy > anger > fear > neutral state, and sad > fear > neutral state). The stimuli set, normative values and code are available for download.https://doi.org/10.1038/s41598-023-33656-4 |
| spellingShingle | Julia F. Christensen Laura Bruhn Eva-Madeleine Schmidt Nasimeh Bahmanian Sina H. N. Yazdi Fahima Farahi Luisa Sancho-Escanero Winfried Menninghaus A 5-emotions stimuli set for emotion perception research with full-body dance movements Scientific Reports |
| title | A 5-emotions stimuli set for emotion perception research with full-body dance movements |
| title_full | A 5-emotions stimuli set for emotion perception research with full-body dance movements |
| title_fullStr | A 5-emotions stimuli set for emotion perception research with full-body dance movements |
| title_full_unstemmed | A 5-emotions stimuli set for emotion perception research with full-body dance movements |
| title_short | A 5-emotions stimuli set for emotion perception research with full-body dance movements |
| title_sort | 5 emotions stimuli set for emotion perception research with full body dance movements |
| url | https://doi.org/10.1038/s41598-023-33656-4 |
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