Motion Capturing Emotions

Karen Wood 1 , Rosemary E. Cisneros 2 ,  and Sarah Whatley 2
  • 1 Centre for Dance Research (C-DaRE), Coventry University, , Coventry, UK
  • 2 C-DaRE, Coventry University, , Coventry, UK

Abstract

The paper explores the activities conducted as part of WhoLoDancE: Whole Body Interaction Learning for Dance Education which is an EU-funded Horizon 2020 project. In particular, we discuss the motion capture sessions that took place at Motek, Amsterdam as well as the dancers’ experience of being captured and watching themselves or others as varying visual representations through the HoloLens. HoloLens is Microsoft’s first holographic computer that you wear as you would a pair of glasses. The study embraced four dance genres: Ballet, Contemporary, Flamenco and Greek Folk dance. We are specifically interested in the kinesthetic and emotional engagement with the moving body and what new corporeal awareness may be experienced. Positioning the moving, dancing body as fundamental to technological advancements, we discuss the importance of considering the dancer’s experience in the real and virtual space. Some of the artists involved in the project have offered their experiences, which are included, and they form the basis of the discussion. In addition, we discuss the affect of immersive environments, how these environments expand reality and what effect (emotionally and otherwise) that has on the body. The research reveals insights into relationships between emotion, movement and technology and what new sensorial knowledge this evokes for the dancer.

If the inline PDF is not rendering correctly, you can download the PDF file here.

  • Atkinson, Anthony P., Mary L. Tunstall, and Winand H. Dittrich. “Evidence for Distinct Contributions of Form and Motion Information to the Recognition of Emotions from Body Gestures.” Cognition 104.1 (2007): 59-72. Web. 10 August 2017 <http://www.sciencedirect.com/science/article/pii/S0010027706001235>

  • Bleeker, Maaike. Transmission in Motion: The Technologizing of Dance. Abindon: Routledge, 2016.

  • Berthoz, Alain. The Brain’s Sense of Movement: Perspectives in Cognitive Neuroscience. France: Editions Odile Jacob, 2000.

  • Berthoz, Alain., Petit, Jean-Luc. The Physiology and Phenomenology of Action. Oxford: Oxford University Press, 2006.

  • Birringer, Johannes, (2011). “Technologies and the Social.” Dance Technology and Circulations of the Social V2.0, 21-23rd April 2011, Massachusetts Institute of Technology, Cambridge, Massachusetts, U.S.A.

  • Boone, R. Thomas, and Joseph G. Cunningham. “Children’s Decoding of Emotion in Expressive Body Movement: The Development of Cue Attunement.” Developmental Psychology 34.5 (1998): 1007-16. Web. 10 August 2017 <http://psycnet.apa.org/record/1998-10846-017?doi=1>

  • Camurri, Antonio, Ingrid Lagerlöf, and Gualtiero Volpe. “Recognizing Emotion from Dance Movement: Comparison of Spectator Recognition and Automated Techniques.” International Journal of Human-Computer Studies 59.1-2 (2003): 213-25. Web. 10 August 2017 <http://www.sciencedirect.com/science/article/pii/S1071581903000508>

  • Choinière, Isabelle. (2017). “Phenomenological Mediations of The Performative Body: A 21st Century Perspective of Embodiment.” Dance and Somatic Practices conference, 7-9th July 2017, Coventry University, Coventry, U.K.

  • Damasio, Antonio. The Feeling of What Happens: Body, Emotion and the Making of Consciousness. London: Vintage Books, 2000.

  • de Meijer, Marco. “The Contribution of General Features of Body Movement to The Attribution of Emotions.” Journal of Nonverbal Behavior 13.4 (1989): 247-68. Web. 10 August 2017 <https://link.springer.com/article/10.1007/BF00990296>

  • Dixon, Steve, and Barry Smith. Digital Performance. Cambridge, MA: MIT Press, 2007. Print.

  • Dittrich, Winand H, Tom Troscianko, Stephen E.G. Lea, Dawn Morgan. “Perception of Emotion from Dynamic Point-Light Displays Represented in Dance.” Perception 25.6 (1996): 727-38. Web. 10 August 2017 <http://journals.sagepub.com/doi/abs/10.1068/p250727>

  • Edwards, Steven, D. “The Body as Object versus the Body as Subject: The Case of Disability.” Medicine, Health Care and Philosophy 1 (1998): 47-56.

  • El Raheb, Katerina; Ioannidis, Yannis. 2013. Dance in the World of Data and Objects. In Information Technologies for Performing Arts, Media Access, and Entertainment (pp. 192-204). Springer, Berlin, Heidelberg.

  • Fisher, Scott S. “Virtual Interface Environments.” The Art of Human-Computer Interface Design. New York: Addison-Wesley, 1990.

  • Foster, Susan. “Movement’s Contagion: The Kinesthetic Impact of Performance.” The Cambridge Companion to Performance Studies. Ed. T. C. Davis. Cambridge: Cambridge University Press, 2012: 46-59.

  • Gibson, James J. The Ecological Approach to Visual Perception. New Jersey, U.S.A.: Lawrence Erlbaum Associates Inc., 1979.

  • Hayles, N. Katherine. How We Think. Chicago, Ill.: The University of Chicago Press, 2012.

  • Heidegger, Martin. 1962. Being and Time. Oxford: Blackwell. (Sein und Zeit, 1927).

  • Heidegger, Martin, John Macquarrie, and Edward Robinson. Being and Time. Malden: Blackwell, 2013. Print.

  • Hove, Michael J., and Peter E. Keller. “Spatiotemporal Relations and Movement Trajectories in Visuomotor Synchronization.”

  • Music Perception 28.1 (2010): 15-26. Web. 12 August 2017 <http://pkpublications.weebly.com/uploads/1/1/8/3/11835433/hovekeller_mp2010.pdf>

  • Lagerlöf, Ingrid, and Marie Djerf. “Children’s Understanding of Emotion in Dance.” European Journal of Developmental Psychology 6.4 (2009): 409-31. Web. 12 August 2017 <http://www.tandfonline.com/doi/abs/10.1080/17405620701438475>

  • Marks, Laura. Skin of Film: Intercultural Cinema, Embodiment and the Senses. U.S.A.: Duke University Press, 2000.

  • Misi, Mirella; Pimentel, Ludmila. “The Virtual Body is Real! Phenomenological and Postphenomenological Perspectives in

  • Mediadance.” The Oxford Handbook of Screendance Studies. Ed. D. Rosenberg. New York: Oxford University Press, 2016: 557-71.

  • Polanyi, Michael. Personal Knowledge: Towards a Postcritical Philosophy. Chicago: The University of Chicago Press, 1964.

  • Preston-Dunlop, Valerie. “Choreutic Concepts and Practice.” Dance Research I.1 (1983): 77-88. Web. 15 August 2017 < http://www.euppublishing.com/doi/abs/10.2307/1290804>

  • Sanchez-Colberg, Ana, Preston-Dunlop, Valerie. Dance and the Performative, a Choreological Perspective-Laban and Beyond. Binstead, Hampshire, UK: Dancebooks Ltd, 2010.

  • Sevdalis, Vassilis, and Peter E. Keller. “Captured by Motion: Dance, Action Understanding, and Social Cognition.” Brain and Cognition 77.2 (2011): 231-36. Web. 15 August 2017 <http://pkpublications.weebly.com/uploads/1/1/8/3/11835433/sevdaliskeller_braincog2011.pdf>

  • Sheets-Johnstone, Maxine. “Why is Movement Therapeutic?” American Journal of Dance Therapy 32 (2010): 2-15.

  • Sherman, William R., and Craig, Alan B. Understanding Virtual Reality: Interface, Application and Design. San Francisco: Morgan Kaufmann Publishers, 2003.

  • Sobchack, Vivian. Carnal Thoughts: Embodiment and Moving Image Culture. California: University of California Press Ltd, 2004.

  • Thien, Deborah. “After or beyond feeling? A Consideration of Affect and Emotion in Geography.” Area 37 (4) (2005): 450-54.

  • Walk, Richard D., and Carolyn P. Homan. “Emotion and Dance in Dynamic Light Displays.” Bulletin of the Psychonomic Society 22.5 (1984): 437-40. Web. 15 August 2017 <https://link.springer.com/article/10.3758/BF03333870>

  • Whatley, Sarah. “The Poetics of Motion Capture and Visualisation Techniques: The Differences between Watching Real and Virtual Dancing Bodies.” Kinesthetic Empathy in Creative and Cultural Practices. Eds. D. Reynolds & M. Reason. Bristol: Intellect Ltd, 2012: 263-80.

OPEN ACCESS

Journal + Issues

Open Cultural Studies is a peer-reviewed journal exploring the fields of Humanities, Social Sciences and Arts. It interprets culture in an inclusive sense and promotes new research perspectives in cultural studies. The journal aims to enhance international collaboration among scholars from the Global North and the Global South and help early-career researchers. It is also committed to increasing public access to scholarship on cultural studies.

Search