Dance Data Cognition and Multimodal Communication

Description

Dance Data, Cognition, and Multimodal Communication is the result of a collaborative and transdisciplinary effort towards a first definition of "dance data", with its complexities and contradictions, in a time where cognitive science is growing in parallel to the need of a renewed awareness of the body’s agency in our manyfold interactions with the world. It is a reflection on the observation of bodily movements in artistic settings, and one that views human social interactions, multimodal communication, and cognitive processes through a different lens—that of the close collaboration between performing artists, designers, and scholars. This collection focuses simultaneously on methods and technologies for creating, documenting, or representing dance data. The editors highlight works focusing on the dancers’ embodied minds, including research using neural, cognitive, behavioural, and linguistic data in the context of dance composition processes. Each chapter deals with dance data from an interdisciplinary perspective, presenting theoretical and methodological discussions emerging from empirical studies, as well as more experimental ones. The book, which includes digital Support Material on the volume's Routledge website, will be of great interest to students and scholars in contemporary dance, neuro-cognitive science, intangible cultural heritage, performing arts, cognitive linguistics, embodiment, design, new media, and creativity studies. Cover Half Title Series Page Title Page Copyright Page Contents Illustrations Contributors Introduction 1 Dance data and multimodality 2 Background of this volume 3 What is dance data? 4 Structure of this volume Acknowledgements Note References Part I: Performance-as-Research: Dance data from the artists' perspectives 1. Negotiating deliberate choice-making: Insights from an interdisciplinary and multimodal encounter during the making of a New Contemporary Dance PRELUDE OVERTURE 1.1 Contemporary dance: Negotiating between an inherited past and the evolving, subjective body logics of the present 1.1.1 Collaborations in contemporary dance-making: The contemporary dancer as proud co-author in a creative process INTERMEZZO 1.2 An arts and science encounter 1.3 Phase One: Introducing BLM, Treatise, and VR 1.3.1 BLM: A "new" verbal language for a dance 1.3.1.1 BLM: Dodging mode (DM) 1.3.1.2 BLM: Scanning mode (SM) 1.3.2 A graphic music score to dance by Cornelius Cardew's Treatise 1.3.2.1 Treatise as a compositional map for a dance 1.3.3 Placing Treatise into Virtual Reality (VR) 1.3.3.1 Reinterpreting Treatise according to the dancers' body logics: Re-scoring after BLM and VR 1.4 Phase Two: Building a final movement study for a dance 1.5 Results and discussion: Reflections from the arts' perspective and additional artefacts of the arts and sciences collaboration 1.6 Conclusion and final thoughts 1.7 Rights and permissions Acknowledgements Notes References 2. Dance | Data | Storytelling 2.1 Introduction 2.2 Case studies 2.3 Discussion 2.3.1 Infographics and choreographic thinking 2.3.2 Embodied filmmaking 2.3.3 Storytelling 2.4 Final thoughts Notes References 3. Enabling multimodal interaction in mixed-abled dance: Insights into creating highly accessible teaching tools for inclusive cultural work 3.1 Introduction 3.2 Research objective 3.3 Research design and research methods 3.4 Research Phase I 3.4.1 Step 1: Systematic literature review 3.4.2 Step 2: Collection and selection of tools to be tested 3.4.3 Step 3: First research residency Athens - data collection 3.4.4 Example 3.4.5 Step 4: Development of selected tools 3.4.6 Step 5: Follow-up research residencies Greece and Germany - tool testing 3.5 First results 3.6 Further considerations and outlook Notes References Part II: Dance documentation and dance scores 4. Recording "Effect": A case study in technical, practical, and critical perspectives on dance data creation 4.1 Introduction 4.2 Process documentation: Tracking change over time with live-annotation 4.3 Motion capture: Technical solutions, data accessibility, and modes of dissemination 4.4 Dance data: Building a framework for the imaginary 4.5 Summary and conclusion Notes References 5. Digital-born artworks and interactive experience: Documentation and archiving 5.1 Introducing the research journey 5.2 The embodied and the ephemeral: As you see it, so it has gone 5.3 Analysis as documentation 5.4 Accounting for audience experience 5.5 Are we allowed in the museum? Notes References 6. Dance scoring and en-action as a creative tool for dance documentation 6.1 Introduction 6.2 El Chimbangueles and documentation 6.3 Digital media, preservation, and performance 6.4 Conclusion References 7. Terpsicore - dance and performing arts archive 7.1 Terpsicore, dance, and memory 7.2 Terpsicore and other archives 7.3 How may we archive? 7.4 A cartography of dance Funding Notes References Part III: Computational dance data: Between the real and the virtual 8. Augmented seeing and sensing References 9. Motion capture and the digital dance aesthetic: Using inertial sensor motion tracking for devising and producing contemporary dance performance 9.1 Introduction 9.2 Real-time motion capture and augmented realities 9.3 The "infinitely malleable" body versus the "highly technical" body 9.4 Malta, July 2018 9.5 Lesson learned Notes References 10. Capturing and visualizing 3D dance data: Challenges and lessons learnt 10.1 Introduction 10.2 Context 10.3 Capturing and visualising 3D dance data 10.3.1 Challenges of capturing 3D dance data 10.3.1.1 Nature of the content 10.3.1.2 Context of the capture 10.3.1.3 Purpose of the capture 10.3.1.4 Use cases in the BlackBox project 10.3.2 Challenges of visualising 3D dance data 10.3.2.1 Visualisation of point-cloud data 10.3.2.2 Visualisation of skeleton data 10.3.2.3 Use cases in the BlackBox project 10.4 Conclusions 10.5 Rights and permissions Funding Notes References Part IV: The brain's experience of dance 11. The embodied neuroaesthetics of watching dance 11.1 A neuroscientific perspective 11.1.1 Neural correlates of watching others in action 11.1.2 Neurophysiological changes resulting from dance training 11.2 Empirical (neuro)aesthetics of dance 11.2.1 Impact of Gestalt principles and movement features on dance appreciation 11.2.2 Symmetry 11.2.3 Familiarity 11.2.4 Synchrony 11.2.5 Other factors influencing enjoyment of performative dance 11.2.6 The role of music and auditory stimulation in dance appreciation 11.2.7 Event-sharing and the social experience of dance 11.2.8 The future of embodied aesthetics of watching dance 11.2.9 Robotics 11.2.10 Virtual reality 11.2.11 Mobile neuroimaging 11.3 Concluding remarks Acknowledgements References 12. Dancing neurons: Common brain activity fMRI analysis of the cerebral phenomena behind dance perception 12.1 Introduction 12.1.1 Dance: A distinct form of movement 12.1.2 Dance as a dynamic laboratory 12.1.3 The present study 12.2 Materials and methods 12.2.1 Participants 12.2.2 Stimuli 12.2.3 Procedure 12.2.4 Data analysis 12.3 Results 12.3.1 Discussion 12.4 Conclusion Acknowledgements References 13. "I see something and I like it": Unveiling a choreographer's decision-making process using quantitative and qualitative methods 13.1 Introduction 13.2 Methods 13.2.1 Participants 13.2.2 Data collection 13.2.3 Methodology: Non-automatic video processing and analysis 13.2.4 Classification of the choreographer's behaviour 13.3 Results of the quantitative analysis 13.3.1 "Exploitation" corresponds to less than 20% of the visits 13.3.2 Most movement units are "exploited" very few times 13.4 Interviewing the choreographer 13.4.1 The choreographer reports that "exploitation" generates new movements 13.4.2 The choreographer detects "glitches" to be improved 13.4.3 Focus on specific movement details 13.4.4 Giving specific instructions about movement units 13.4.5 Demonstrations as variations for the dancer to experiment 13.4.6 The need to test movements on the choreographer's body 13.4.7 Mirroring the dancer's movements while reviewing them 13.5 Conclusions References Part V: Dance expertise and cognition 14. Dance expertise, embodied cognition, and the body in the brain 14.1 Introduction 14.2 Dancers as cognitive (memory) experts 14.3 The body in embodied cognition 14.4 Body representations 14.5 Phantoms meet body schema 14.6 Dance and disability 14.7 Conclusions References 15. What makes dancers extraordinary? Insights from a cognitive science perspective 15.1 Introduction 15.2 Case study 1: Composition in real time and social cognition 15.2.1 Related work 15.2.2 Study description and methods 15.2.3 Qualitative results and discussion 15.3 Case study 2: Dance-marking and distributed cognition 15.3.1 Methods 15.3.1.1 Data 15.3.1.2 Annotation method 15.3.2 Results and discussion 15.3.2.1 Articulator and movement reduction 15.4 Case study 3: Vocalisations and touch in dance practise 15.4.1 Methods 15.4.1.1 Corpus architecture 15.4.1.2 Annotation work 15.4.2 Results and discussion 15.4.2.1 Descriptive statistics 15.4.2.2 Qualitative analysis 15.4.3 Results 15.5 Final results and discussion 15.6 Author contributions 15.7 Rights and permissions Acknowledgements Notes References 16. The role of dance experience, visual processing strategies, and quantitative movement features in recognition of emotion from whole-body movements 16.1 Background 16.2 Methods 16.2.1 Participants 16.2.2 Stimuli and methods 16.2.2.1 Experiment builder 16.2.2.2 Dance stimuli 16.2.2.3 Eye-tracking 16.2.3 Procedure 16.3 Results 16.3.1 Emotion recognition analysis 16.3.2 Response bias 16.3.3 Visual-fixation analyses 16.3.4 Exploration of factors influencing sensitivity 16.3.5 Exploratory movement feature analysis 16.4 Discussion 16.4.1 Sensitivity to emotion recognition 16.4.2 Allocation of visual attention and processing strategies 16.4.3 Laban qualities of movement and perception of emotion 16.5 Conclusions References Part VI: Cognitive metaphor and gesture in dance and theatre 17. Unpeeling meaning: An analogy and metaphor identification and analysis tool for modern and post-modern dance, and beyond 17.1 Introduction 17.2 Background and context 17.3 Concentric circles model (CCM) 17.3.1 Circle 1: CORE (dance unit) 17.3.2 Circle 2: ANALOGICAL FETAURES (because...) 17.3.3 Circle 3: INTERPRETATIONS (...reminds me of... triggered associations) 17.3.4 Circle 4: LOCAL CONTEXT 17.3.5 Circle 5: BROAD CONTEXT - personal and socio-cultural 17.3.6 Beyond the circles: ADDITIONAL ANALOGICAL ASSOCIATIONS 17.3.7 CCM in dance production: Stimulus idea as CORE 17.3.8 CCM discussion 17.4 Discussion of background theory 17.5 Concluding discussion Acknowledgements Notes References 18. Understanding non-verbal metaphor: A cognitive approach to metaphor in dance 18.1 Introduction 18.2 Study 1: Expert performance in mapping dance movement to emotion concepts 18.2.1 Methods 18.2.1.1 Participants 18.2.1.2 Stimuli and study design 18.2.1.3 Coding procedure 18.2.2 Results 18.3 Discussion 18.4 Study 2: Non-expert performance in mapping dance movement to emotion concepts 18.4.1 Methods 18.4.1.1 Participants 18.4.1.2 Stimuli and procedure 18.4.2 Results and discussion 18.5 Conclusions Notes References 19. Study on hand movements accompanied during the description of dance appreciation 19.1 Introduction 19.2 Methods 19.2.1 Participants 19.2.2 Stimuli 19.2.3 Procedures 19.2.4 Materials 19.2.5 Measurements 19.2.6 Statistical analyses 19.3 Results 19.3.1 Structure category 19.3.2 Focus category 19.3.3 StructureFocus concatenation category 19.3.4 Function category 19.3.5 Type category 19.4 Discussion Acknowledgements References 20. Reduction of gesticulation and information patterning strategies in acted speech 20.1 Introduction 20.2 Theoretical frameworks 20.2.1 Gesture 20.2.2 Prosodic and information structures 20.3 Methodology 20.3.1 Dataset 20.3.2 Annotation procedure 20.3.3 Synchronisation parameters 20.3.4 Interrater agreement 20.3.4.1 Prosody 20.3.4.2 Gesture 20.4 Synchronisation and patterning strategies 20.4.1 Spontaneous speech correlating patterns 20.4.1.1 Gesture units 20.4.1.2 Gesture phrases 20.4.2 Reduction of information patterning strategies in acted speech 20.4.2.1 Gesture-level differences 20.4.2.2 Speech-level differences 20.4.2.3 Interruption vs. complexity 20.5 Conclusion 20.6 Transcription conventions Notes References 21. Lines of experience: Towards a research method 21.1 Lines in other fields 21.2 Translating linear qualities 21.3 Lines entangle theories References Note about Funding Author Index Subject Index