Joint action aesthetics.
Identifieur interne : 000A09 ( Main/Exploration ); précédent : 000A08; suivant : 000A10Joint action aesthetics.
Auteurs : Staci Vicary [Royaume-Uni, Australie] ; Matthias Sperling [Royaume-Uni] ; Jorina Von Zimmermann [Royaume-Uni] ; Daniel C. Richardson [Royaume-Uni] ; Guido Orgs [Royaume-Uni]Source :
- PloS one [ 1932-6203 ] ; 2017.
Descripteurs français
- KwdFr :
- Adolescent (MeSH), Adulte (MeSH), Adulte d'âge moyen (MeSH), Danse (MeSH), Esthétique (MeSH), Femelle (MeSH), Humains (MeSH), Jeune adulte (MeSH), Marche à pied (MeSH), Mouvement (MeSH), Musique (MeSH), Mâle (MeSH), Perception auditive (MeSH), Perception visuelle (MeSH), Plaisir (MeSH), Rythme cardiaque (MeSH), Éveil (MeSH).
- MESH :
English descriptors
- KwdEn :
- Adolescent (MeSH), Adult (MeSH), Arousal (MeSH), Auditory Perception (MeSH), Dancing (MeSH), Esthetics (MeSH), Female (MeSH), Heart Rate (MeSH), Humans (MeSH), Male (MeSH), Middle Aged (MeSH), Movement (MeSH), Music (MeSH), Pleasure (MeSH), Visual Perception (MeSH), Walking (MeSH), Young Adult (MeSH).
- MESH :
Abstract
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.
DOI: 10.1371/journal.pone.0180101
PubMed: 28742849
PubMed Central: PMC5526561
Affiliations:
- Australie, Royaume-Uni
- Angleterre, Grand Londres
- Londres
- University College de Londres, Université de Londres
Links toward previous steps (curation, corpus...)
Le document en format XML
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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.</div></front></TEI><pubmed><MedlineCitation Status="MEDLINE" Owner="NLM"><PMID Version="1">28742849</PMID><DateCompleted><Year>2017</Year><Month>09</Month><Day>29</Day></DateCompleted><DateRevised><Year>2018</Year><Month>11</Month><Day>13</Day></DateRevised><Article PubModel="Electronic-eCollection"><Journal><ISSN IssnType="Electronic">1932-6203</ISSN><JournalIssue CitedMedium="Internet"><Volume>12</Volume><Issue>7</Issue><PubDate><Year>2017</Year></PubDate></JournalIssue><Title>PloS one</Title><ISOAbbreviation>PLoS One</ISOAbbreviation></Journal><ArticleTitle>Joint action aesthetics.</ArticleTitle><Pagination><MedlinePgn>e0180101</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.1371/journal.pone.0180101</ELocationID><Abstract><AbstractText>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.</AbstractText></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Vicary</LastName><ForeName>Staci</ForeName><Initials>S</Initials><AffiliationInfo><Affiliation>Department of Psychology, Goldsmiths, University of London, London, United Kingdom.</Affiliation></AffiliationInfo><AffiliationInfo><Affiliation>School of Social Sciences and Psychology, University of Western Sydney, Penrith, New South Wales, Australia.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Sperling</LastName><ForeName>Matthias</ForeName><Initials>M</Initials><AffiliationInfo><Affiliation>Independent Artist and Choreographer, London, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>von Zimmermann</LastName><ForeName>Jorina</ForeName><Initials>J</Initials><AffiliationInfo><Affiliation>Department of Experimental Psychology, University College London, London, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Richardson</LastName><ForeName>Daniel C</ForeName><Initials>DC</Initials><AffiliationInfo><Affiliation>Department of Experimental Psychology, University College London, London, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Orgs</LastName><ForeName>Guido</ForeName><Initials>G</Initials><Identifier Source="ORCID">http://orcid.org/0000-0003-3725-3979</Identifier><AffiliationInfo><Affiliation>Department of Psychology, Goldsmiths, University of London, London, United Kingdom.</Affiliation></AffiliationInfo></Author></AuthorList><Language>eng</Language><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType></PublicationTypeList><ArticleDate DateType="Electronic"><Year>2017</Year><Month>07</Month><Day>25</Day></ArticleDate></Article><MedlineJournalInfo><Country>United States</Country><MedlineTA>PLoS One</MedlineTA><NlmUniqueID>101285081</NlmUniqueID><ISSNLinking>1932-6203</ISSNLinking></MedlineJournalInfo><CitationSubset>IM</CitationSubset><MeshHeadingList><MeshHeading><DescriptorName UI="D000293" MajorTopicYN="N">Adolescent</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D000328" MajorTopicYN="N">Adult</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D001143" MajorTopicYN="N">Arousal</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D001307" MajorTopicYN="N">Auditory Perception</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D003615" MajorTopicYN="Y">Dancing</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D004954" MajorTopicYN="Y">Esthetics</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D005260" MajorTopicYN="N">Female</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D006339" MajorTopicYN="N">Heart Rate</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D006801" MajorTopicYN="N">Humans</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D008297" MajorTopicYN="N">Male</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D008875" MajorTopicYN="N">Middle Aged</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D009068" MajorTopicYN="N">Movement</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D009146" MajorTopicYN="Y">Music</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D057181" MajorTopicYN="Y">Pleasure</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D014796" MajorTopicYN="N">Visual Perception</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D016138" MajorTopicYN="N">Walking</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D055815" 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