Body, Space, and Emotion: A Perceptual Study

Glowinski, Donald; Coll, Sélim Yahia; Baron, Naëm; Sanchez, Maeva; Schaerlaeken, Simon; Grandjean, Didier

doi:10.17011/ht/urn.201705272517

Cited by 6 publications

(4 citation statements)

References 44 publications

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“…For instance, tension has been studied extensively in music (melodic: Granot & Eitan, 2011 ; Bigand & Parncutt, 1999 , vocal: McKenna & Stepp, 2018 ), but it is a complex phenomenon to quantify and its validity as an indirect measure of effort is not well-justified in literature. Laban’s effort ideas have proven valuable for developing computational methods and have laid the foundations for the majority of work on the analysis (Glowinski et al, 2017 ; Fdili Alaoui et al, 2017 ; Broughton & Davidson, 2014 ; Maes et al, 2014 ; Camurri et al, 2009 ; Petersen, 2008 ) and synthesis (Volpe, 2003 ; Zhao, 2001 ) of movement in music, as well as the development of interactive systems for music and dance (Souza & Freire, 2017 ; Françoise et al, 2014 ; Maes et al, 2010 ; Bennett et al, 2007 ). However, his ideas have limited potential for developing explicit quantitative measures, and in the abovementioned computational methods Laban’s effort qualities are only indirectly estimated by extracting features that are usually evaluated as relevant to the concept of effort by observers.…”

Section: Introductionmentioning

confidence: 99%

Effort inference and prediction by acoustic and movement descriptors in interactions with imaginary objects during Dhrupad vocal improvisation

Paschalidou

2022

Wearable Technol.

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In electronic musical instruments (EMIs), the concept of “sound sculpting” was proposed by Mulder, in which imaginary objects are manually sculpted to produce sounds, although promising has had some limitations: driven by pure intuition, only the objects’ geometrical properties were mapped to sound, while effort—which is often regarded as a key factor of expressivity in music performance—was neglected. The aim of this paper is to enhance such digital interactions by accounting for the perceptual measure of effort that is conveyed through well-established gesture-sound links in the ecologically valid conditions of non-digital music performances. Thus, it reports on the systematic exploration of effort in Dhrupad vocal improvisation, in which singers are often observed to engage with melodic ideas by manipulating intangible, imaginary objects with their hands. The focus is devising formalized descriptions to infer the amount of effort that such interactions are perceived to require and classify gestures as interactions with elastic versus rigid objects, based on original multimodal data collected in India for the specific study. Results suggest that a good part of variance for both effort levels and gesture classes can be explained through a small set of statistically significant acoustic and movement features extracted from the raw data and lead to rejecting the null hypothesis that effort is unrelated to the musical context. This may have implications on how EMIs could benefit from effort as an intermediate mapping layer and naturally opens discussions on whether physiological data may offer a more intuitive measure of effort in wearable technologies.

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Section: Introductionmentioning

confidence: 99%

Effort inference and prediction by acoustic and movement descriptors in interactions with imaginary objects during Dhrupad vocal improvisation

Paschalidou

2022

Wearable Technol.

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“…The observers' perspective is missing but could be included in having participants rate the recorded movements with respect to their qualities, for instance using Laban Effort dimensions (see e.g. [11]). Another approach would be to let participants watch and rate their own movements to see how their percept of their own movements correspond to their felt experience.…”

Section: Discussionmentioning

confidence: 99%

Evaluating movement qualities with visual feedback for real-time motion capture

Hussain¹,

Modekjaer²,

Austad

et al. 2019

Proceedings of the 6th International Conference on Movement and Computing

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The focus of this paper is to investigate how the design of visual feedback on full body movement affects the quality of the movements. Informed by the theory of embodiment in interaction design and media technology, as well as by the Laban theory of effort, a computer application was implemented in which users are able to project their movements onto two visuals ('Particle' and 'Metal'). We investigated whether the visual designs influenced movers through an experiment where participants were randomly assigned to one of the visuals while performing a set of simple tasks. Qualitative analysis of participants' verbal movement descriptions as well as analysis of quantitative movement features combine several perspectives with respect to describing the differences and the change in the movement qualities. The qualitative data shows clear differences between the groups. The quantitative data indicates that all groups move differently when visual feedback is provided. Our results contribute to the design effort of visual modality in movement-focused design of extended realities. CCS CONCEPTS• Human-centered computing → Visualization design and evaluation methods; Interaction design process and methods; • Computing methodologies → Motion capture;

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“…They are spaces in which emotions are recognised in differentiated ways, be it anger, happiness, fear, surprise, or sadness. Within the “emotionscape” the body is a tool of unparalleled power for expressing emotion beyond the use of verbal utterances, and as such a key source of information for emotion recognition (Glowinski et al, 2017).…”

Section: Emotionscapes and Interpretive Bodiesmentioning

confidence: 99%

“Emotionscapes of geopolitics”: Interpreting in the United Nations Security Council

Jones

2021

Trans Inst British Geog

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The agency of interpreters has been kept out of view in human geography. This paper corrects this by focusing on embodied interpretation: bodies, freighted with their own relations, expectations, and experiences in the context of “emotionscapes,” settings for emotional communication. Conceptually, “emotionscapes” enable the exploration of the potentiality of an emotion in its spatial setting. Emotionally expressive behaviour is a process of the emotion; a potentiality to be realised. Emotions are distinctively connected to specific sites and spaces. This potentiality shifts the analytical focus away from what emotion is to what emotion can do to the alteration or reproduction of relations. I argue that this is vitally important to understanding geopolitical exchange, that is, how global politics is made and remade. However, the potentiality of emotions is made more complicated when interpretive bodies are involved in geopolitical exchange. They are intrinsic to the relational fluxes, currents, and flows of emotion – its potentialities – they identify and relay emotionally laden language of others for others in geopolitical communication. They observe, relay, and mutate emotional potentiality in “emotionscapes.” In doing so, they wrestle with more than just words. They seek to capture emotions and geopolitics between real‐life people in real places. Understanding their endeavour should challenge us therefore to [re]consider geopolitical exchange in “emotionscapes” and the mediatory and performative roles played by interpretive bodies in these spaces of geopolitical knowledge production. This is my key purpose in this paper. Underpinning the paper’s conceptual ideas are qualitative data on the role of interpretive bodies in realising emotional potentialities in the “emotionscape” of the UN Security Council in New York, arguably the most high‐profile geopolitical institution.

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Body, Space, and Emotion: A Perceptual Study

Cited by 6 publications

References 44 publications

Effort inference and prediction by acoustic and movement descriptors in interactions with imaginary objects during Dhrupad vocal improvisation

Effort inference and prediction by acoustic and movement descriptors in interactions with imaginary objects during Dhrupad vocal improvisation

Evaluating movement qualities with visual feedback for real-time motion capture

“Emotionscapes of geopolitics”: Interpreting in the United Nations Security Council

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