In message <20020414.233856.-348015.3.anatomical@juno.com>, anatomical@juno.com writes I would like to know how you created the conditions of fear and anger when conducting your experiments. Thanks Kema > >1) J. Streepey and M. Gross (1998) conducted a study entitled "Influence of >emotional intent on dance kinematics". Dancers were asked to perform what >Streepey and Gross call a "whole body gesture" (in this case basically a >demi plie in parallel position). Subjects performed the movement under 3 >expressive conditions: neutral, fear and anger. Position data from >reflective markers placed at 12 body landmarks were captured, and >kinematics for the ankle, lower spine and shoulder were analyzed. To cut to >the chase, Streepey and Gross found that "range of motion increased with >anger and fear. Peak velocities differed between emotions, with the lowest >velocities in neutral movements and the highest velocities in anger". > >One interesting question that arises here is what is the difference between >expressive intent (on the part of the performer) and the perception of >expression (on the part of the audience). Would a naive observer have >interpreted these same movements as "fear" or "anger"? > -- Kema T. Ekpei Esq. kema@kema.org.uk www.kema.org.uk
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