Timing is everything: Dance aesthetics depend on the complexity of movement kinematics

Orlandi, Andrea; Cross, Emily S.; Orgs, Guido

doi:10.1016/j.cognition.2020.104446

Cited by 53 publications

(76 citation statements)

References 76 publications

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“…The order of presentation of the images and videos was fully randomized within blocks. The task order was not counterbalanced across participants, to avoid biasing participants' ratings of the static stimuli by prior judgements of movement naturalness (Orlandi et al, 2020). Pleasantness rating of line drawings All rating data were checked for significant outliers prior to performing the analysis.…”

Section: Methodsmentioning

confidence: 99%

A dot that went for a walk: People prefer lines drawn with human‐like kinematics

Chamberlain

Berio

Mayer

et al. 2021

British J of Psychology

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A dominant theory of embodied aesthetic experience (Freedberg & Gallese, 2007, Trends in Cognitive Sciences, 11, 197) posits that the appreciation of visual art is linked to the artist's movements when creating the artwork, yet a direct link between the kinematics of drawing actions and the aesthetics of drawing outcomes has not been experimentally demonstrated. Across four experiments, we measured aesthetic responses of students from arts and non-arts backgrounds to drawing movements generated from computational models of human writing. Experiment 1 demonstrated that human-like drawing movements with bell-shaped velocity profiles (Sigma Lognormal [SL] and Minimum Jerk [MJ]) are perceived as more natural and pleasant than movements with a uniform profile, and in both Experiments 1 and 2 movements that were perceived as more natural were also preferred. Experiment 3 showed that this effect persists if lower-level dynamic stimulus features are fully matched across experimental and control conditions. Furthermore, aesthetic preference for human-like movements were associated with greater perceptual fluency in Experiment 3, evidenced by unbiased estimations of the duration of natural movements. In Experiment 4, line drawings with visual features consistent with the dynamics of natural, human-like movements were preferred, but only by art students. Our findings directly link the aesthetics of human action to the visual aesthetics of drawings, but highlight the importance of incorporating artistic expertise into embodied accounts of aesthetic experience.This is an open access article under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs License, which permits use and distribution in any medium, provided the original work is properly cited, the use is non-commercial and no modifications or adaptations are made.

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Section: Methodsmentioning

confidence: 99%

A dot that went for a walk: People prefer lines drawn with human‐like kinematics

Chamberlain

Berio

Mayer

et al. 2021

British J of Psychology

Self Cite

View full text Add to dashboard Cite

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“…More recently, Orlandi et al ( 2020b ) approached the aesthetic experience of dance analyzing how movement kinematics can affect the observers' evaluation. They presented their experimental subjects (non-experts) with video clips of a dancer performing the same sequences (played forward and backward) with timing variations.…”

Section: Perceiving Dance: Action Observation Network and Motor Expertisementioning

confidence: 99%

Dancing in Your Head: An Interdisciplinary Review

et al. 2021

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The aim of this review is to highlight the most relevant contributions on dance in neuroscientific research. Neuroscience has analyzed the mirror system through neuroimaging techniques, testing its role in imitative learning, in the recognition of other people's emotions and especially in the understanding of the motor behavior of others. This review analyses the literature related to five general areas: (I) breakthrough studies on the mirror system, and subsequent studies on its involvement in the prediction, the execution, the control of movement, and in the process of “embodied simulation” within the intersubjective relationship; (II) research focused on investigating the neural networks in action observation, and the neural correlates of motor expertise highlighted by comparative studies on different dance styles; (III) studies dealing with the viewer's experience of dance according to specific dance repertoires, which revealed the relevance of choreographic choices for aesthetic appreciation; (IV) studies focused on dance as an aesthetic experience, where both the emotional and the cultural dimension play a significant role, and whose investigation paves the way to further progress both in empirical and in phenomenological research methodologies; (V) collaboration-based experiments, in which neuroscientists and choreographers developed expertise-related questions, especially focusing on the multiple phenomena that underlie motor imagery.

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“…As reported, we assessed this factor in terms of motion energy, and our statistical analysis suggested no significant differences of motion energy in the three tested types of action. Still, the impact of further and more fine-grained parameters describing motion on audiovisual integration, including for instance movement velocity, acceleration, smoothness or entropy (hence predictability) [55] as well as dynamic features related to rhythmic structure in movements [56], remains to be further examined using sound-generating whole-body movements.…”

Section: Limitationsmentioning

confidence: 99%

Surmising synchrony of sound and sight: Factors explaining variance of audiovisual integration in hurdling, tap dancing and drumming

et al. 2021

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Auditory and visual percepts are integrated even when they are not perfectly temporally aligned with each other, especially when the visual signal precedes the auditory signal. This window of temporal integration for asynchronous audiovisual stimuli is relatively well examined in the case of speech, while other natural action-induced sounds have been widely neglected. Here, we studied the detection of audiovisual asynchrony in three different whole-body actions with natural action-induced sounds–hurdling, tap dancing and drumming. In Study 1, we examined whether audiovisual asynchrony detection, assessed by a simultaneity judgment task, differs as a function of sound production intentionality. Based on previous findings, we expected that auditory and visual signals should be integrated over a wider temporal window for actions creating sounds intentionally (tap dancing), compared to actions creating sounds incidentally (hurdling). While percentages of perceived synchrony differed in the expected way, we identified two further factors, namely high event density and low rhythmicity, to induce higher synchrony ratings as well. Therefore, we systematically varied event density and rhythmicity in Study 2, this time using drumming stimuli to exert full control over these variables, and the same simultaneity judgment tasks. Results suggest that high event density leads to a bias to integrate rather than segregate auditory and visual signals, even at relatively large asynchronies. Rhythmicity had a similar, albeit weaker effect, when event density was low. Our findings demonstrate that shorter asynchronies and visual-first asynchronies lead to higher synchrony ratings of whole-body action, pointing to clear parallels with audiovisual integration in speech perception. Overconfidence in the naturally expected, that is, synchrony of sound and sight, was stronger for intentional (vs. incidental) sound production and for movements with high (vs. low) rhythmicity, presumably because both encourage predictive processes. In contrast, high event density appears to increase synchronicity judgments simply because it makes the detection of audiovisual asynchrony more difficult. More studies using real-life audiovisual stimuli with varying event densities and rhythmicities are needed to fully uncover the general mechanisms of audiovisual integration.

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Timing is everything: Dance aesthetics depend on the complexity of movement kinematics

Cited by 53 publications

References 76 publications

A dot that went for a walk: People prefer lines drawn with human‐like kinematics

A dot that went for a walk: People prefer lines drawn with human‐like kinematics

Dancing in Your Head: An Interdisciplinary Review

Surmising synchrony of sound and sight: Factors explaining variance of audiovisual integration in hurdling, tap dancing and drumming

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