Joint improvisation is the creative action of two or more people without a script or designated leader. Examples include improvisational theater and music, and day-to-day activities such as conversations. In joint improvisation, novel action is created, emerging from the interaction between people. Although central to creative processes and social interaction, joint improvisation remains largely unexplored due to the lack of experimental paradigms. Here we introduce a paradigm based on a theater practice called the mirror game. We measured the hand motions of two people mirroring each other at high temporal and spatial resolution. We focused on expert actors and musicians skilled in joint improvisation. We found that players can jointly create novel complex motion without a designated leader, synchronized to less than 40 ms. In contrast, we found that designating one player as leader deteriorated performance: The follower showed 2-3 Hz oscillation around the leader's smooth trajectory, decreasing synchrony and reducing the range of velocities reached. A mathematical model suggests a mechanism for these observations based on mutual agreement on future motion in mirrored reactive-predictive controllers. This is a step toward understanding the human ability to create novelty by improvising together.coordination dynamics | group creativity | group flow | togetherness M any human activities are performed together by two or more persons, but the basic mechanisms underlying joint action (1-3) are still largely unknown. Recent work has addressed well-defined joint actions such as finger tapping (4, 5), rocking in chairs (6), or lifting a wooden plank together (7), showing phenomena of synchronization and hysteresis (8). There is much less study of improvised action that is open-ended (9, 10). Examples of such joint action occur when musicians, dancers, or actors improvise together (11), and also in day-to-day experience such as two people locked in an engaging conversation (12, 13) or two toddlers in play (14). Subjective reports by joint improvisers describe moments of high performance in which improvisers do not know who is leading and who is following (15-17). These reports raise interesting questions: How does joint improvisation work? Does improvising together indeed lead to better performance? And does joint improvisation differ from simply following an improvising leader?Despite the importance of joint improvised action in social interactions and creative processes, it has rarely been studied, due to a lack of experimental paradigms. Here we present an experimental system for studying joint improvised action, based on the mirror game, a fundamental practice in improvisation theater (18,19) and dance/movement therapy (20). In the mirror game, two players imitate each other, producing coherent dance-like motion that seems choreographed. The game can be viewed as a simple paradigm in which two people create motion together de novo.We adapted the mirror game using a custom device for measuring motion in one dimension...

Actors, dancers and musicians that improvise together report special moments of togetherness: high performance and synchrony, seemingly without a leader and a follower. Togetherness seems to conflict with individuality- the idiosyncratic character of each person's performance. To understand the relation of individuality and togetherness, we employed the mirror game paradigm in which two players are asked to mirror each other and create interesting synchronized motion, with and without a designated leader. The mirror game enables quantitative characterization of moments of togetherness in which complex motion is generated with high synchrony. We find that each person as a leader does basic strokes of motion with a characteristic signature, in terms of the shape of their velocity profile between two stopping events. In moments of togetherness both players change their signature to a universal stroke shape. This universal velocity profile resembles a half-period of a sine wave, and is therefore symmetric and maximally smooth. Thus, instead of converging to an intermediate motion signature, or having one player dominate, players seem to shift their basic motion signatures to a shape that is altogether different from their individually preferred shapes; the resulting motion may be easier to predict and to agree on. The players then build complex motion by using such smooth elementary strokes.

Performers improvising together describe special moments of ‘being in the zone’ – periods of high performance, synchrony, and enhanced sense of togetherness. Existing evidence suggests a possible route for attaining togetherness – interpersonal synchrony, the fine-grained sensory-motor coordination that promotes social connectedness. Here, we investigated the physiological characteristics of togetherness using a practice from theater and dance, the mirror game. Pairs of expert improvisers jointly improvised synchronized linear motion, while their motion tracks and cardiovascular activity were continuously monitored. Players also provided dynamic ratings of togetherness while watching video recordings of their games. We identified periods of togetherness using kinematic and subjective markers and assessed their physiological characteristics. The kinematic and the subjective measures of togetherness showed some agreement, with more extensive game periods being marked by the subjective than the kinematic one. Game rounds with high rates of togetherness were characterized by increased players’ cardiovascular activity, increased correlation of players’ heart rates (HRs), and increased motion intensity. By comparing motion segments with similar motion intensity, we showed that moments of togetherness in the mirror game were marked by increased players’ HRs, regardless of motion intensity. This pattern was robust for the subjectively defined periods of togetherness, while showing a marginal effect for the kinematically defined togetherness. Building upon similar findings in flow research we suggest that the observed increase of players’ HRs during togetherness periods in the mirror game might indicate the enhanced engagement and enjoyment reported by performers going into ‘the zone.’ The suggested approach, combining temporal measurements of kinematic, physiological and subjective responses, demonstrates how the dynamics of spontaneously emerging dyadic states can be studied empirically.