We present the perspective that interpersonal movement coordination results from establishing interpersonal synergies. Interpersonal synergies are higher-order control systems formed by coupling movement system degrees of freedom of two (or more) actors. Characteristic features of synergies identified in studies of intrapersonal coordination – dimensional compression and reciprocal compensation – are revealed in studies of interpersonal coordination that applied the uncontrolled manifold approach and principal component analysis to interpersonal movement tasks. Broader implications of the interpersonal synergy approach for movement science include an expanded notion of mechanism and an emphasis on interaction-dominant dynamics.

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In investigations into perception-action systems, variability of observable behavior may be considered to (a) interfere with inquiry, (b) be neither detrimental nor particularly useful to inquiry, or (c) play a crucial role in inquiry. The authors underscore recent suggestions that alternative (c) is a preferred strategy for the study of many motor behaviors. In tutorial fashion, the authors review the concepts of variability and determinism with respect to postural and rhythmic movements. Study of the variability of those behaviors has revealed crucial features suggestive of underlying mechanisms and control, such as particular blends of noise and determinism (piecewise determinism). It has also revealed general lessons (for example, more variable does not mean more random and more controllable does not mean more deterministic) that may extend to other classes of perceptual behavior.

We compared the variability and spatiotemporal profile of postural sway of trained ballet dancers to college varsity track athletes under variations in the availability of vision and rigidity of the support surface. We found no differences between the groups according to the variability measures, but variability increased for both groups with eyes closed and on a foam surface. Recurrence quantification analysis revealed that the postural sway of dancers was less regular (lower recurrence), less stable (lower maxline), less complex (lower entropy), and more stationary (lower absolute trend) than that of track athletes. Dancers, possibly as a result of focused balance training, exhibited different dynamic patterns of postural sway.