Subjects viewed and interpreted a videotape composed of point light displays from figures representing different dances and emotions. Even without cues from the face, the subjects accurately identified the dances and emotions. Discussion includes the influence of labeling, the sound of silence, sex differences in nonverbal recognition, and the alarm hypothesis about priority in recognition of emotions that threaten survival. mum, 12 points of light were projected onto the 27-em-diam TV screen. The video sequence was taped for projection later.Both performers were female. Trials 1-6 were performed by C.H., who had had extensive training in ballet and dance, and Trials 7-13 by J.S., who had spent 2 years with a mime troupe.The videotape contained 13 trials. The sequence for one trial was: a handwritten trial number (e.g., Trial 1) presented for 2 sec, a blank of 2 sec, the movement sequence for 10-20 sec, a blank period of 5 sec, the next trial number, etc. The 5-sec pause between trials was a place to stop the tape so that subjects could write their responses.The order of Trials 1-6 was: a still figure, jazz dancing, waltzing, ballet, rock and roll, and walking back and forth, each shown for 10 sec, except for walking (15 sec). The mime sequences , Trials 7-13, were: drunkenness and sadness (20 sec each), happiness, fear, surprise, and anger (15 sec each), and contempt (20 sec).Response sheets. Response sheets had trials numbered 1-13 and space to write beside each trial number. Another sheet had the events of Trials 1·6 listed in alphabetical order, followed by the events of Trials 7-13 in alphabetical order.
