How Shall I Count the Ways? A Method for Quantifying the Qualitative Aspects of Unscripted Movement With Laban Movement Analysis

Social-Motor Coordination Between Peers: Joint Action Developmental Trajectories in ASD and TD

Coordinating a physical movement in time and space with social and nonsocial partners to achieve a shared goal - "joint action" (JA) - characterizes many peer-engagement situations that pose challenges for individuals with autism spectrum disorder (ASD). This cross-sectional study examined development of JA capabilities comparing ASD versus typically developing (TD) groups in early childhood, preadolescence, and adolescence while performing mirroring and complementing JA tasks with social (peer) and nonsocial (computer) partners. Results indicated better motor coordination abilities on computerized tasks than in peer dyads, with larger peer-dyad deficits shown by the ASD group. Developmental growth in JA abilities emerged, but the ASD group lagged behind same-age peers with TD. Socio-motor interventions may offer new channels to facilitate peer engagement in ASD.

Unlocking the Emotional World of Visual Media: An Overview of the Science, Research, and Impact of Understanding Emotion: Drawing Insights From Psychology, Engineering, and the Arts, This Article Provides a Comprehensive Overview of the Field of Emotion Analysis in Visual Media and Discusses the Latest Research, Systems, Challenges, Ethical Implications, and Potential Impact of Artificial Emotional Intelligence on Society

The emergence of artificial emotional intelligence technology is revolutionizing the fields of computers and robotics, allowing for a new level of communication and understanding of human behavior that was once thought impossible. While recent advancements in deep learning have transformed the field of computer vision, automated understanding of evoked or expressed emotions in visual media remains in its infancy. This foundering stems from the absence of a universally accepted definition of "emotion," coupled with the inherently subjective nature of emotions and their intricate nuances. In this article, we provide a comprehensive, multidisciplinary overview of the field of emotion analysis in visual media, drawing on insights from psychology, engineering, and the arts. We begin by exploring the psychological foundations of emotion and the computational principles that underpin the understanding of emotions from images and videos. We then review the latest research and systems within the field, accentuating the most promising approaches. We also discuss the current technological challenges and limitations of emotion analysis, underscoring the necessity for continued investigation and innovation. We contend that this represents a "Holy Grail" research problem in computing and delineate pivotal directions for future inquiry. Finally, we examine the ethical ramifications of emotion-understanding technologies and contemplate their potential societal impacts. Overall, this article endeavors to equip readers with a deeper understanding of the domain of emotion analysis in visual media and to inspire further research and development in this captivating and rapidly evolving field.

Muva physical activity intervention to improve social functioning in people with a severe mental illness: study protocol of a pragmatic stepped wedge cluster randomized trial

BACKGROUND

People with severe mental illness (SMI) often suffer from long-lasting symptoms that negatively influence their social functioning, their ability to live a meaningful life, and participation in society. Interventions aimed at increasing physical activity can improve social functioning, but people with SMI experience multiple barriers to becoming physically active. Besides, the implementation of physical activity interventions in day-to-day practice is difficult. In this study, we aim to evaluate the effectiveness and implementation of a physical activity intervention to improve social functioning, mental and physical health.

METHODS

In this pragmatic stepped wedge cluster randomized controlled trial we aim to include 100 people with SMI and their mental health workers from a supported housing organization. The intervention focuses on increasing physical activity by implementing group sports activities, active guidance meetings, and a serious game to set physical activity goals. We aim to decrease barriers to physical activity through active involvement of the mental health workers, lifestyle courses, and a medication review. Participating locations will be divided into four clusters and randomization will decide the start of the intervention. The primary outcome is social functioning. Secondary outcomes are quality of life, symptom severity, physical activity, cardiometabolic risk factors, cardiorespiratory fitness, and movement disturbances with specific attention to postural adjustment and movement sequencing in gait. In addition, we will assess the implementation by conducting semi-structured interviews with location managers and mental health workers and analyze them by direct content analysis.

DISCUSSION

This trial is innovative since it aims to improve social functioning in people with SMI through a physical activity intervention which aims to lower barriers to becoming physically active in a real-life setting. The strength of this trial is that we will also evaluate the implementation of the intervention. Limitations of this study are the risk of poor implementation of the intervention, and bias due to the inclusion of a medication review in the intervention that might impact outcomes.

TRIAL REGISTRATION

This trial was registered prospectively in The Netherlands Trial Register (NTR) as NTR NL9163 on December 20, 2020. As the The Netherlands Trial Register is no longer available, the trial can now be found in the International Clinical Trial Registry Platform via: https://trialsearch.who.int/Trial2.aspx?TrialID=NL9163 .

Dance on the Brain: Enhancing Intra- and Inter-Brain Synchrony

Dance has traditionally been viewed from a Eurocentric perspective as a mode of self-expression that involves the human body moving through space, performed for the purposes of art, and viewed by an audience. In this Hypothesis and Theory article, we synthesize findings from anthropology, sociology, psychology, dance pedagogy, and neuroscience to propose The Synchronicity Hypothesis of Dance, which states that humans dance to enhance both intra- and inter-brain synchrony. We outline a neurocentric definition of dance, which suggests that dance involves neurobehavioral processes in seven distinct areas including sensory, motor, cognitive, social, emotional, rhythmic, and creative. We explore The Synchronicity Hypothesis of Dance through several avenues. First, we examine evolutionary theories of dance, which suggest that dance drives interpersonal coordination. Second, we examine fundamental movement patterns, which emerge throughout development and are omnipresent across cultures of the world. Third, we examine how each of the seven neurobehaviors increases intra- and inter-brain synchrony. Fourth, we examine the neuroimaging literature on dance to identify the brain regions most involved in and affected by dance. The findings presented here support our hypothesis that we engage in dance for the purpose of intrinsic reward, which as a result of dance-induced increases in neural synchrony, leads to enhanced interpersonal coordination. This hypothesis suggests that dance may be helpful to repattern oscillatory activity, leading to clinical improvements in autism spectrum disorder and other disorders with oscillatory activity impairments. Finally, we offer suggestions for future directions and discuss the idea that our consciousness can be redefined not just as an individual process but as a shared experience that we can positively influence by dancing together.

How Do We Recognize Emotion From Movement? Specific Motor Components Contribute to the Recognition of Each Emotion

Are there movement features that are recognized as expressing each basic emotion by most people, and what are they? In our previous study we identified sets of Laban movement components that, when moved, elicited the basic emotions of anger, sadness, fear, and happiness. Our current study aimed to investigate if movements composed from those sets would be recognized as expressing those emotions, regardless of any instruction to the mover to portray emotion. Our stimuli included 113 video-clips of five Certified Laban Movement Analysts (CMAs) moving combinations of two to four movement components from each set associated with only one emotion: happiness, sadness, fear, or anger. Each three second clip showed one CMA moving a single combination. The CMAs moved only the combination's required components. Sixty-two physically and mentally healthy men (n = 31) and women (n = 31), ages 19–48, watched the clips and rated the perceived emotion and its intensity. To confirm participants' ability to recognize emotions from movement and to compare our stimuli to existing validated emotional expression stimuli, participants rated 50 additional clips of bodily motor expressions of these same emotions validated by Atkinson et al. (2004). Results showed that for both stimuli types, all emotions were recognized far above chance level. Comparing recognition accuracy of the two clip types revealed better recognition of anger, fear, and neutral emotion from Atkinson's clips of actors expressing emotions, and similar levels of recognition accuracy for happiness and sadness. Further analysis was performed to determine the contribution of specific movement components to the recognition of the studied emotions. Our results indicated that these specific Laban motor components not only enhance feeling the associated emotions when moved, but also contribute to recognition of the associated emotions when being observed, even when the mover was not instructed to portray emotion, indicating that the presence of these movement components alone is sufficient for emotion recognition. This research-based knowledge regarding the relationship between Laban motor components and bodily emotional expressions can be used by dance-movement and drama therapists for better understanding of clients' emotional movements, for creating appropriate interventions, and for enhancing communication with other practitioners regarding bodily emotional expression.