Joint action aesthetics

Evaluations of dyadic synchrony: observers' traits influence estimation and enjoyment of synchrony in mirror-game movements

While evidence abounds that motor synchrony is a powerful form of 'social glue' for those involved, we have yet to understand how observers perceive motor synchrony: can observers estimate the degree of synchrony accurately? Is synchrony aesthetically pleasing? In two preregistered experiments (n = 161 each), we assess how accurately observers can estimate the degree of synchrony in dyads playing the mirror game, and how much observers enjoy watching these movements. We further assess whether accuracy and enjoyment are influenced by individual differences in self-reported embodied expertise (ability to reproduce movements, body awareness, body competence), psychosocial resources (extraversion, self-esteem), or social competencies (empathy, autistic traits), while objectively controlling for the degree of measured synchrony and complexity. The data revealed that observers' estimated synchrony with poor accuracy, showing a tendency to underestimate the level of synchrony. Accuracy for low synchrony improved with increasing body competence, while accuracy for high synchrony improved with increasing autistic traits. Observers' enjoyment of dyadic movements correlated positively with the degree of measured synchrony, the predictability of the movements, and the observer's empathy. Furthermore, very low enjoyment was associated with increased body perception. Our findings indicate that accuracy in perceiving synchrony is closely linked to embodiment, while aesthetic evaluations of action hinge on individual differences.

Body motion of choral singers

Recent investigations on music performances have shown the relevance of singers' body motion for pedagogical as well as performance purposes. However, little is known about how the perception of voice-matching or task complexity affects choristers' body motion during ensemble singing. This study focussed on the body motion of choral singers who perform in duo along with a pre-recorded tune presented over a loudspeaker. Specifically, we examined the effects of the perception of voice-matching, operationalized in terms of sound spectral envelope, and task complexity on choristers' body motion. Fifteen singers with advanced choral experience first manipulated the spectral components of a pre-recorded short tune composed for the study, by choosing the settings they felt most and least together with. Then, they performed the tune in unison (i.e., singing the same melody simultaneously) and in canon (i.e., singing the same melody but at a temporal delay) with the chosen filter settings. Motion data of the choristers' upper body and audio of the repeated performances were collected and analyzed. Results show that the settings perceived as least together relate to extreme differences between the spectral components of the sound. The singers' wrists and torso motion was more periodic, their upper body posture was more open, and their bodies were more distant from the music stand when singing in unison than in canon. These findings suggest that unison singing promotes an expressive-periodic motion of the upper body.

The Neuroscience of Dance: A Conceptual Framework and Systematic Review

Ancient and culturally universal, dance pervades many areas of life and has multiple benefits. In this article, we provide a conceptual framework and systematic review, as a guide for researching the neuroscience of dance. We identified relevant articles following PRISMA guidelines, and summarised and evaluated all original results. We identified avenues for future research in: the interactive and collective aspects of dance; groove; dance performance; dance observation; and dance therapy. Furthermore, the interactive and collective aspects of dance constitute a vital part of the field but have received almost no attention from a neuroscientific perspective so far. Dance and music engage overlapping brain networks, including common regions involved in perception, action, and emotion. In music and dance, rhythm, melody, and harmony are processed in an active, sustained pleasure cycle giving rise to action, emotion, and learning, led by activity in specific hedonic brain networks. The neuroscience of dance is an exciting field, which may yield information concerning links between psychological processes and behaviour, human flourishing, and the concept of eudaimonia.

Creative Togetherness. A Joint-Methods Analysis of Collaborative Artistic Performance

In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews based on video recordings of their performance were conducted individually with all team members; and third, the performance was evaluated by external artistic swimming experts. By combining these levels of analysis in different ways, we explore how changes in togetherness and lived experience in individual behavior may shape, disrupt, and (re-)stabilize joint performance. Our findings suggest that the experience of being and acting together is transient and changing, often alternating phases of decrease and increase in felt togetherness that can be consistently recognized by swimmers and external raters.

Coordination dynamics of multi-agent interaction in a musical ensemble

Humans interact with other humans at a variety of timescales and in a variety of social contexts. We exhibit patterns of coordination that may differ depending on whether we are genuinely interacting as part of a coordinated group of individuals vs merely co-existing within the same physical space. Moreover, the local coordination dynamics of an interacting pair of individuals in an otherwise non-interacting group may spread, propagating change in the global coordination dynamics and interaction of an entire crowd. Dynamical systems analyses, such as Recurrence Quantification Analysis (RQA), can shed light on some of the underlying coordination dynamics of multi-agent human interaction. We used RQA to examine the coordination dynamics of a performance of "Welcome to the Imagination World", composed for wind orchestra. This performance enacts a real-life simulation of the transition from uncoordinated, non-interacting individuals to a coordinated, interacting multi-agent group. Unlike previous studies of social interaction in musical performance which rely on different aspects of video and/or acoustic data recorded from each individual, this project analyzes group-level coordination patterns solely from the group-level acoustic data of an audio recording of the performance. Recurrence and stability measures extracted from the audio recording increased when musicians coordinated as an interacting group. Variability in these measures also increased, indicating that the interacting ensemble of musicians were able to explore a greater variety of behavior than when they performed as non-interacting individuals. As an orchestrated (non-emergent) example of coordination, we believe these analyses provide an indication of approximate expected distributions for recurrence patterns that may be measurable before and after truly emergent coordination.

EEG Frequency Tagging Reveals the Integration of Form and Motion Cues into the Perception of Group Movement

The human brain has dedicated mechanisms for processing other people’s movements. Previous research has revealed how these mechanisms contribute to perceiving the movements of individuals but has left open how we perceive groups of people moving together. Across three experiments, we test whether movement perception depends on the spatiotemporal relationships among the movements of multiple agents. In Experiment 1, we combine EEG frequency tagging with apparent human motion and show that posture and movement perception can be dissociated at harmonically related frequencies of stimulus presentation. We then show that movement but not posture processing is enhanced when observing multiple agents move in synchrony. Movement processing was strongest for fluently moving synchronous groups (Experiment 2) and was perturbed by inversion (Experiment 3). Our findings suggest that processing group movement relies on binding body postures into movements and individual movements into groups. Enhanced perceptual processing of movement synchrony may form the basis for higher order social phenomena such as group alignment and its social consequences.

Multilevel rhythms in multimodal communication

It is now widely accepted that the brunt of animal communication is conducted via several modalities, e.g. acoustic and visual, either simultaneously or sequentially. This is a laudable multimodal turn relative to traditional accounts of temporal aspects of animal communication which have focused on a single modality at a time. However, the fields that are currently contributing to the study of multimodal communication are highly varied, and still largely disconnected given their sole focus on a particular level of description or their particular concern with human or non-human animals. Here, we provide an integrative overview of converging findings that show how multimodal processes occurring at neural, bodily, as well as social interactional levels each contribute uniquely to the complex rhythms that characterize communication in human and non-human animals. Though we address findings for each of these levels independently, we conclude that the most important challenge in this field is to identify how processes at these different levels connect. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.

Bridging the gap between emotion and joint action

Our daily human life is filled with a myriad of joint action moments, be it children playing, adults working together (i.e., team sports), or strangers navigating through a crowd. Joint action brings individuals (and embodiment of their emotions) together, in space and in time. Yet little is known about how individual emotions propagate through embodied presence in a group, and how joint action changes individual emotion. In fact, the multi-agent component is largely missing from neuroscience-based approaches to emotion, and reversely joint action research has not found a way yet to include emotion as one of the key parameters to model socio-motor interaction. In this review, we first identify the gap and then stockpile evidence showing strong entanglement between emotion and acting together from various branches of sciences. We propose an integrative approach to bridge the gap, highlight five research avenues to do so in behavioral neuroscience and digital sciences, and address some of the key challenges in the area faced by modern societies.

Performing arts as a health resource? An umbrella review of the health impacts of music and dance participation

An increasing body of evidence notes the health benefits of arts engagement and participation. However, specific health effects and optimal modes and 'doses' of arts participation remain unclear, limiting evidence-based recommendations and prescriptions. The performing arts are the most popular form of arts participation, presenting substantial scope for established interest to be leveraged into positive health outcomes. Results of a three-component umbrella review (PROSPERO ID #: CRD42020191991) of relevant systematic reviews (33), epidemiologic studies (9) and descriptive studies (87) demonstrate that performing arts participation is broadly health promoting activity. Beneficial effects of performing arts participation were reported in healthy (non-clinical) children, adolescents, adults, and older adults across 17 health domains (9 supported by moderate-high quality evidence (GRADE criteria)). Positive health effects were associated with as little as 30 (acute effects) to 60 minutes (sustained weekly participation) of performing arts participation, with drumming and both expressive (ballroom, social) and exercise-based (aerobic dance, Zumba) modes of dance linked to the broadest health benefits. Links between specific health effects and performing arts modes/doses remain unclear and specific conclusions are limited by a still young and disparate evidence base. Further research is necessary, with this umbrella review providing a critical knowledge foundation.

Affiliative bonding between teachers and students through interpersonal synchronisation in brain activity

Human beings organise socially. Theories have posited that interpersonal neural synchronisation might underlie the creation of affiliative bonds. Previous studies tested this hypothesis mainly during a social interaction, making it difficult to determine whether the identified synchronisation is associated with affiliative bonding or with social interaction. This study addressed this issue by focusing on the teacher–student relationship in the resting state both before and after a teaching period. Brain activity was simultaneously measured in both individuals using functional near-infrared spectroscopy. The results showed a significant increase in brain synchronisation at the right sensorimotor cortex between the teacher and student in the resting state after, but not before, the teaching period. Moreover, the synchronisation increased only after a turn-taking mode of teaching but not after a lecturing or video mode of teaching. A chain mediation analysis showed that brain synchronisation during teaching partially mediated the relationship between the brain synchronisation increase in the resting state and strength of the affiliative bond. Finally, both role assignment and social interaction were found to be required for affiliative bonding. Together, these results support the hypothesis that interpersonal synchronisation in brain activity underlies affiliative bonding and that social interaction mechanically mediates the bonding process.

Dancing in Your Head: An Interdisciplinary Review

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.

Dance Is More Than Meets the Eye-How Can Dance Performance Be Made Accessible for a Non-sighted Audience?

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's "Sons of Sissy," we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research.

The Attraction of Synchrony: A Hip-Hop Dance Study

This study investigated an evolutionary-adaptive explanation for the cultural ubiquity of choreographed synchronous dance: that it evolved to increase interpersonal aesthetic appreciation and/or attractiveness. In turn, it is assumed that this may have facilitated social bonding and therefore procreation between individuals within larger groups. In this dual-dancer study, individuals performed fast or slow hip-hop choreography to fast-, medium-, or slow-tempo music; when paired laterally, this gave rise to split-screen video stimuli in which there were four basic categories of dancer and music synchrony: (1) synchronous dancers, synchronous music; (2) synchronous dancers, asynchronous music; (3) asynchronous dancers, one dancer synchronous with music; and (4) asynchronous dancers, asynchronous music. Participants' pupil dilations and aesthetic appreciation of the dancing were recorded for each video, with the expectation that these measures would covary with levels of synchronization. While results were largely consistent with the hypothesis, the findings also indicated that interpersonal aesthetic appreciation was driven by a hierarchy of synchrony between the dancers: stimuli in which only one dancer was synchronous with the music were rated lower than stimuli in which the dancers were asynchronous with each other and with the music; i.e., stimuli in which the dancers were unequal were judged less favorably than those in which the dancers were equal, albeit asynchronously. Stimuli in which all elements were synchronous, dancers and music, were rated highest and, in general, elicited greater pupil dilations.

Are There Differences in Experts' and Lay Assessors' Attractiveness Judgments of Non-Professional Men's Dance/Gait Movements?

Research on attractiveness assessments of men's dance has shown that raters derive and integrate information about male mating-related qualities into their attractiveness assessments, but prior studies have focused on lay assessors (i.e., individuals with no professional dance background) rather than dance experts. We recruited male and female Russian dance experts (n = 23) to judge gender-neutral, featureless virtual characters, animated with motion-captured dance movements and gaits of British men, and compared their dance assessments to those from a group of Russian male and female lay assessors (n = 73). The dance experts provided higher dance and gait attractiveness judgments than the lay assessors. Both groups judged the gait movements to be of higher attractiveness than the dance movements. Differences in attractiveness assessments between experts and lay assessors were larger for the male judges than for the female judges. In an additional survey, the dance experts (versus lay assessors) placed greater emphasis on the importance of dance-related capacities and skills. We discuss our findings with reference to past research on dance/gait attractiveness as assessed by lay judges and the role of expertise in assessing body movement.

Synchronicities that shape the perception of joint action

In joint performances spanning from jazz improvisation to soccer, expert performers synchronize their movements in ways that novices cannot. Particularly, experts can align the velocity profiles of their movements in order to achieve synchrony on a fine-grained time scale, compared to novices who can only synchronize the duration of their movement intervals. This study investigated how experts' ability to engage in velocity-based synchrony affects observers' perception of coordination and their aesthetic experience of joint performances. Participants observed two moving dots on a screen and were told that these reflect the hand movements of two performers engaging in joint improvisation. The dots were animated to reflect the velocity-based synchrony characteristic of expert performance (in terms of jitter of the velocity profile: Experiment 1, or through aligning sharpness of the velocity profile: Experiment 2) or contained only interval-based synchrony. Performances containing velocity-based synchrony were judged as more coordinated with performers rated as liking each other more, and were rated as more beautiful, providing observers with a stronger aesthetic experience. These findings demonstrate that subtle timing cues fundamentally shape the experience of watching joint actions, directly influencing how beautiful and enjoyable we find these interactions, as well as our perception of the relationship between co-actors.

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

What constitutes a beautiful action? Research into dance aesthetics has largely focussed on subjective features like familiarity with the observed movement, but has rarely studied objective features like speed or acceleration. We manipulated the kinematic complexity of observed actions by creating dance sequences that varied in movement timing, but not in movement trajectory. Dance-naïve participants rated the dance videos on speed, effort, reproducibility, and enjoyment. Using linear mixed-effects modeling, we show that faster, more predictable movement sequences with varied velocity profiles are judged to be more effortful, less reproducible, and more aesthetically pleasing than slower sequences with more uniform velocity profiles. Accordingly, dance aesthetics depend not only on which movements are being performed but on how movements are executed and linked into sequences. The aesthetics of movement timing may apply across culturally-specific dance styles and predict both preference for and perceived difficulty of dance, consistent with information theory and effort heuristic accounts of aesthetic appreciation.

Informing, Coordinating, and Performing: A Perspective on Functions of Sensorimotor Communication

Sensorimotor communication is a form of communication instantiated through body movements that are guided by both instrumental, goal-directed intentions and communicative, social intentions. Depending on the social interaction context, sensorimotor communication can serve different functions. This article aims to disentangle three of these functions: (a) an informing function of body movements, to highlight action intentions for an observer; (b) a coordinating function of body movements, to facilitate real-time action prediction in joint action; and (c) a performing function of body movements, to elicit emotional or aesthetic experiences in an audience. We provide examples of research addressing these different functions as well as some influencing factors, relating to individual differences, task characteristics, and situational demands. The article concludes by discussing the benefits of a closer dialog between separate lines of research on sensorimotor communication across different social contexts.

Audience spontaneous entrainment during the collective enjoyment of live performances: physiological and behavioral measurements

Cardiac synchrony is a crucial component of shared experiences, considered as an objective measure of emotional processes accompanying empathic interactions. No study has investigated whether cardiac synchrony among people engaged in collective situations links to the individual emotional evaluation of the shared experience. We investigated theatrical live performances as collective experiences evoking strong emotional engagement in the audience. Cross Recurrence Quantification Analysis was applied to obtain the cardiac synchrony of twelve spectators’ quartets attending to two live acting performances. This physiological measure was then correlated with spectators’ emotional intensity ratings. Results showed an expected increment in synchrony among people belonging to the same quartet during both performances attendance and rest periods. Furthermore, participants’ cardiac synchrony was found to be correlated with audience’s convergence in the explicit emotional evaluation of the performances they attended to. These findings demonstrate that the mere co-presence of other people sharing a common experience is enough for cardiac synchrony to occur spontaneously and that it increases in function of a shared and coherent explicit emotional experience.

Wearable devices for remote vital signs monitoring in the outpatient setting: an overview of the field

Early detection of physiological deterioration has been shown to improve patient outcomes. Due to recent improvements in technology, comprehensive outpatient vital signs monitoring is now possible. This is the first review to collate information on all wearable devices on the market for outpatient physiological monitoring.

A scoping review was undertaken. The monitors reviewed were limited to those that can function in the outpatient setting with minimal restrictions on the patient’s normal lifestyle, while measuring any or all of the vital signs: heart rate, ECG, oxygen saturation, respiration rate, blood pressure and temperature.

A total of 270 papers were included in the review. Thirty wearable monitors were examined: 6 patches, 3 clothing-based monitors, 4 chest straps, 2 upper arm bands and 15 wristbands. The monitoring of vital signs in the outpatient setting is a developing field with differing levels of evidence for each monitor. The most common clinical application was heart rate monitoring. Blood pressure and oxygen saturation measurements were the least common applications. There is a need for clinical validation studies in the outpatient setting to prove the potential of many of the monitors identified.

Research in this area is in its infancy. Future research should look at aggregating the results of validity and reliability and patient outcome studies for each monitor and between different devices. This would provide a more holistic overview of the potential for the clinical use of each device.

Kinematics of perceived dyadic coordination in dance

We investigated the relationships between perceptions of similarity and interaction in spontaneously dancing dyads, and movement features extracted using novel computational methods. We hypothesized that dancers’ movements would be perceived as more similar when they exhibited spatially and temporally comparable movement patterns, and as more interactive when they spatially oriented more towards each other. Pairs of dancers were asked to move freely to two musical excerpts while their movements were recorded using optical motion capture. Subsequently, in two separate perceptual experiments we presented stick figure animations of the dyads to observers, who rated degree of interaction and similarity between dancers. Mean perceptual ratings were compared with three different approaches for quantifying coordination: torso orientation, temporal coupling, and spatial coupling. Correlations and partial correlations across dyads were computed between each estimate and the perceptual measures. A systematic exploration showed that torso orientation (dancers facing more towards each other) is a strong predictor of perceived interaction even after controlling for other features, whereas temporal and spatial coupling (dancers moving similarly in space and in time) are better predictors for perceived similarity. Further, our results suggest that similarity is a necessary but not sufficient condition for interaction.

Observing Synchrony in Dyads

Abstract. This research tested whether observing members of a dyad behave in synchrony influences observers’ expectations and intentions about that dyad. In four studies, participants observed a dyad move in synchrony and were asked to make inferences about them. Results suggest that interpersonal synchrony serves as a social cue, such that observers expect the members of the dyad to work well together. Moreover, synchrony makes observers more likely to want to affiliate with the dyad. These findings shed light on how the social function of synchrony extends beyond the people who experience it to those who observe it.

Engaging With Contemporary Dance: What Can Body Movements Tell us About Audience Responses?

In live performances seated audiences have restricted opportunities for response. Some responses are obvious, such as applause and cheering, but there are also many apparently incidental movements including posture shifts, fixing hair, scratching and adjusting glasses. Do these movements provide clues to people's level of engagement with a performance? Our basic hypothesis is that audience responses are part of a bi-directional system of audience-performer communication. This communication is part of what distinguishes live from recorded performance and underpins live performers' moment-to-moment sense of how well a performance is going. Here we investigate the range of visible real-time movements of audiences in four live contemporary dance performances. Video recordings of performers and audiences were analyzed using computer vision techniques for extracting face, hand and body movement data. The meaning of audience movements were analyzed by comparing clips of the audience at moments of maximum and minimum movement to expert and novice judges. The results show that audience clips with the lowest overall movement are judged as displaying the highest engagement. In addition, we found that while there is no systematic relationship between audience and dancers movement, hands seem to play an especially significant role since they move significantly more compared to the rest of the body. We draw on these findings to argue that collective stillness is an especially salient signal of audience engagement.

Eye movements, attention, and expert knowledge in the observation of Bharatanatyam dance

Previous research indicates that dance expertise affects eye-movement behaviour—dance experts tend to have faster saccades and more tightly clustered fixations than novices when observing dance, suggesting that experts are able to predict movements and process choreographic information more quickly. Relating to this, the present study aimed to explore (1) the effects of expertise on eye movements (as a proxy for attentional focus and the existence of movement-dance schemas) in Indian Bharatanatyam dance, and (2) narrative dance, which is an important component of Bharatanatyam. Fixation durations, dwell times, and fixation-position dispersions were recorded for novices and experts in Bharatanatyam (N = 28) while they observed videos of narrative and non-narrative Bharatanatyam dance. Consistent with previous research, experts had shorter fixation durations and more tightly clustered fixations than novices. Tighter clustering of fixations was also found for narrative dance versus non-narrative. Our results are discussed in relation to previous dance and eye-tracking research.

Effect- and Performance-Based Auditory Feedback on Interpersonal Coordination

When two individuals interact in a collaborative task, such as carrying a sofa or a table, usually spatiotemporal coordination of individual motor behavior will emerge. In many cases, interpersonal coordination can arise independently of verbal communication, based on the observation of the partners' movements and/or the object's movements. In this study, we investigate how social coupling between two individuals can emerge in a collaborative task under different modes of perceptual information. A visual reference condition was compared with three different conditions with new types of additional auditory feedback provided in real time: effect-based auditory feedback, performance-based auditory feedback, and combined effect/performance-based auditory feedback. We have developed a new paradigm in which the actions of both participants continuously result in a seamlessly merged effect on an object simulated by a tablet computer application. Here, participants should temporally synchronize their movements with a 90° phase difference and precisely adjust the finger dynamics in order to keep the object (a ball) accurately rotating on a given circular trajectory on the tablet. Results demonstrate that interpersonal coordination in a joint task can be altered by different kinds of additional auditory information in various ways.

Synchronization, Attention and Transformation: Multidimensional Exploration of the Aesthetic Experience of Contemporary Dance Spectators

The co-presence of bodies in intersubjective situations can give rise to processes of kinesthetic empathy and physiological synchronization, especially in the context of dance: the body and attention of the spectators are oriented towards the dancers. In this study, we investigate the processes of "body-mind" resonance between a choreography and its spectators, and more specifically the lasting impact of this resonance post-performance. We then explore the relation between the observed effects and subjective measures of attention. The study focuses on the work of the French choreographer Myriam Gourfink, who develops a unique movement, based on the slower breathing of dancers: the breathing generates an extremely slow movement without rhythmic ruptures. Phenomenological studies of her work report changes in temporal perception and changes in bodily attentional states. We made use of two cognitive tasks in order to quantify this change in temporal perception: Spontaneous Motor Tempo (SMT) and Apparent Motion effect (AM) before and after a 40-min live performance. Subjective reports were collected at the end of the performance. Physiological data were recorded before and after the performance. We performed a control experiment with a choreography of a distinctly different quality of movement. Post-Gourfink performance, we observed a significant deceleration of SMT and a decrease in its variability, while AM was reported with longer temporal intervals. Neither of these effects was observed in the control condition. Furthermore, an increase in perception of AM was correlated with a slower breathing rate after the performance. Correlations with subjective reports suggest a link between changes in cognitive and physiological dynamics and the degree of absorption of the spectators in the performance. In addition, these changes were related to specific reported attentional dispositions that we interpret as a form of attentional resonance. The ensemble of the results suggests an expansion of the "specious present" that is related to the slowing of physiological rhythms, and an attentional resonance between spectators and the choreography. The intricate relation we observed between inter-personal resonance and temporal cognition, foregrounds the notion of shared present as a neurophenomenological construct.

Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness

Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of “togetherness” associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a ‘rhythm battle’ dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts.

The Choreography of Group Affiliation

When two people move in synchrony, they become more social. Yet it is not clear how this effect scales up to larger numbers of people. Does a group need to move in unison to affiliate, in what we term unitary synchrony; or does affiliation arise from distributed coordination, patterns of coupled movements between individual members of a group? We developed choreographic tasks that manipulated movement synchrony without explicitly instructing groups to move in unison. Wrist accelerometers measured group movement dynamics and we applied cross-recurrence analysis to distinguish the temporal features of emergent unitary synchrony (simultaneous movement) and distributed coordination (coupled movement). Participants' unitary synchrony did not predict pro-social behavior, but their distributed coordination predicted how much they liked each other, how they felt toward their group, and how much they conformed to each other's opinions. The choreography of affiliation arises from distributed coordination of group movement dynamics.