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Steps Toward a Universal Grammar of Dance: Local Grouping Structure in Basic Human Movement Perception.

ABSTRACT: The general goal of this paper is to investigate the structure of our unconscious mental representation of dance: we do not perceive dance as an unanalyzed flow of movement, but we unconsciously create a mental representation regulated by structural principles. Specifically, this article examines local grouping principles in dance perception inspired by Lerdahl and Jackendoff's (1983) approach to musical grouping. I spell out the basic perceptual dimensions at work in basic human movement perception, and on that basis, I propose six principles of change that determine group boundaries in dance (change of body part, orientation, level, direction, speed, quality). I experimentally test the relevance and interaction of these principles, and find that they are organized on a scale of relative strength. This experiment thus supports the hypothesis that grouping is a general cognitive capacity applying across domains and modalities, and shows how specific grouping principles are stated in relation to modality-specific and domain-specific dimensions. More generally, it takes a step toward the development of a generative theory of dance that should help extend the research avenue of comparing complex temporal cognitive activities across modalities (visual, auditory) and purposes (referential, non-referential), which so far involves spoken language, signed language and music.

SUBMITTER: Charnavel I

PROVIDER: S-EPMC6592219 | biostudies-literature | 2019

REPOSITORIES: biostudies-literature

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Steps Toward a Universal Grammar of Dance: Local Grouping Structure in Basic Human Movement Perception.

Charnavel Isabelle I

Frontiers in psychology 20190618

The general goal of this paper is to investigate the structure of our unconscious mental representation of dance: we do not perceive dance as an unanalyzed flow of movement, but we unconsciously create a mental representation regulated by structural principles. Specifically, this article examines local grouping principles in dance perception inspired by Lerdahl and Jackendoff's (1983) approach to musical grouping. I spell out the basic perceptual dimensions at work in basic human movement percep ...[more]

PMID: 31275199

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Project description:Dance and music often co-occur as evidenced when viewing choreographed dances or singers moving while performing. This study investigated how the viewing of dance motions shapes sound perception. Previous research has shown that dance reflects the temporal structure of its accompanying music, communicating musical meter (i.e. a hierarchical organization of beats) via coordinated movement patterns that indicate where strong and weak beats occur. Experiments here investigated the effects of dance cues on meter perception, hypothesizing that dance could embody the musical meter, thereby shaping participant reaction times (RTs) to sound targets occurring at different metrical positions.In experiment 1, participants viewed a video with dance choreography indicating 4/4 meter (dance condition) or a series of color changes repeated in sequences of four to indicate 4/4 meter (picture condition). A sound track accompanied these videos and participants reacted to timbre targets at different metrical positions. Participants had the slowest RT's at the strongest beats in the dance condition only. In experiment 2, participants viewed the choreography of the horse-riding dance from Psy's "Gangnam Style" in order to examine how a familiar dance might affect meter perception. Moreover, participants in this experiment were divided into a group with experience dancing this choreography and a group without experience. Results again showed slower RTs to stronger metrical positions and the group with experience demonstrated a more refined perception of metrical hierarchy. Results likely stem from the temporally selective division of attention between auditory and visual domains. This study has implications for understanding: 1) the impact of splitting attention among different sensory modalities, and 2) the impact of embodiment, on perception of musical meter. Viewing dance may interfere with sound processing, particularly at critical metrical positions, but embodied familiarity with dance choreography may facilitate meter awareness. Results shed light on the processing of multimedia environments.

Project description:The moment we see a group of objects, we can appreciate its numerosity. Our numerical estimates can be imprecise for large sets (>4 items), but they become much faster and more accurate if items are clustered into groups compared to when they are randomly displaced. This phenomenon, termed groupitizing, is thought to leverage on the capacity to quickly identify groups from 1 to 4 items (subitizing) within larger sets, however evidence in support for this hypothesis is scarce. The present study searched for an electrophysiological signature of subitizing while participants estimated grouped numerosities exceeding this range by measuring event-related potential (ERP) responses to visual arrays of different numerosities and spatial configurations. The EEG signal was recorded while 22 participants performed a numerosity estimation task on arrays with numerosities in the subitizing (3 or 4) or estimation (6 or 8) ranges. In the latter case, items could be spatially arranged into subgroups (3 or 4) or randomly scattered. In both ranges, we observed a decrease in N1 peak latency as the number of items increased. Importantly, when items were arranged to form subgroups, we showed that the N1 peak latency reflected both changes in total numerosity and changes in the number of subgroups. However, this result was mainly driven by the number of subgroups to suggest that clustered elements might trigger the recruitment of the subitizing system at a relatively early stage. At a later stage, we found that P2p was mostly modulated by the total numerosity in the set, with much less sensitivity for the number of subgroups these might be segregated in. Overall, this experiment suggests that the N1 component is sensitive to both local and global parcelling of elements in a scene suggesting that it could be crucially involved in the emergence of the groupitizing advantage. On the other hand, the later P2p component seems to be much more bounded to the global aspects of the scene coding the total number of elements while being mostly blind to the number of subgroups in which elements are parsed.

Project description:Background: Dance is an embodied activity and, when applied therapeutically, can have several specific and unspecific health benefits. In this meta-analysis, we evaluated the effectiveness of dance movement therapy(DMT) and dance interventions for psychological health outcomes. Research in this area grew considerably from 1.3 detected studies/year in 1996-2012 to 6.8 detected studies/year in 2012-2018. Method: We synthesized 41 controlled intervention studies (N = 2,374; from 01/2012 to 03/2018), 21 from DMT, and 20 from dance, investigating the outcome clusters of quality of life, clinical outcomes (with sub-analyses of depression and anxiety), interpersonal skills, cognitive skills, and (psycho-)motor skills. We included recent randomized controlled trials (RCTs) in areas such as depression, anxiety, schizophrenia, autism, elderly patients, oncology, neurology, chronic heart failure, and cardiovascular disease, including follow-up data in eight studies. Results: Analyses yielded a medium overall effect (d = 0.60), with high heterogeneity of results (I 2 = 72.62%). Sorted by outcome clusters, the effects were medium to large (d = 0.53 to d = 0.85). All effects, except the one for (psycho-)motor skills, showed high inconsistency of results. Sensitivity analyses revealed that type of intervention (DMT or dance) was a significant moderator of results. In the DMT cluster, the overall medium effect was small, significant, and homogeneous/consistent (d = 0.30, p < 0.001, I 2 = 3.47). In the dance intervention cluster, the overall medium effect was large, significant, yet heterogeneous/non-consistent (d = 0.81, p < 0.001, I 2 = 77.96). Results suggest that DMT decreases depression and anxiety and increases quality of life and interpersonal and cognitive skills, whereas dance interventions increase (psycho-)motor skills. Larger effect sizes resulted from observational measures, possibly indicating bias. Follow-up data showed that on 22 weeks after the intervention, most effects remained stable or slightly increased. Discussion: Consistent effects of DMT coincide with findings from former meta-analyses. Most dance intervention studies came from preventive contexts and most DMT studies came from institutional healthcare contexts with more severely impaired clinical patients, where we found smaller effects, yet with higher clinical relevance. Methodological shortcomings of many included studies and heterogeneity of outcome measures limit results. Initial findings on long-term effects are promising.

Dataset Information

Steps Toward a Universal Grammar of Dance: Local Grouping Structure in Basic Human Movement Perception.

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Steps Toward a Universal Grammar of Dance: Local Grouping Structure in Basic Human Movement Perception.

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