Cognition and the temporal arts: Investigating audience response to dance using PDAs that record continuous data during live performance

被引：42

作者：

Stevens, Catherine J. ^{[1
]}

Schubert, Emery ^{[3
]}

Morris, Rua Haszard ^{[1
]}

Frear, Matt ^{[1
]}

Chen, Johnson ^{[1
]}

Healey, Sue ^{[3
]}

Schoknecht, Colin ^{[1
]}

Hansen, Stephen ^{[2
]}

机构：

[1] Univ Western Sydney, MARCS Auditory Labs, Penrith, NSW 1797, Australia

[2] Univ Western Sydney, Sch Comp & Math, Penrith, NSW 1797, Australia

[3] Univ New S Wales, Sch English Media & Performing Arts, Sydney, NSW 2052, Australia

来源：

INTERNATIONAL JOURNAL OF HUMAN-COMPUTER STUDIES | 2009年 / 67卷 / 09期

基金：

澳大利亚研究理事会;

关键词：

Continuous response measurement; Portable response instrument; Live performance; Emotional response; WiFi; IEEE Wireless LAN 802.11; Pocket PC; HP iPAQ; EMOTION; MUSIC; TENSION; SCALE; TIME;

D O I：

10.1016/j.ijhcs.2009.06.001

中图分类号：

TP3 [计算技术、计算机技术];

学科分类号：

0812 ;

摘要：

If artists and art explore organization of the brain [Zeki, S., Lamb, M., 1994. The neurology of kinetic art. Brain 117, 607-636], then investigation of response to artistic performance holds promise as a window to perceptual and cognitive processes. A new instrument for recording real-time audience response - the portable Audience Response Facility (pARF) - is described. Twenty, hand-held, Personal Digital Assistants (PDAs) collect responses on customizable skin interfaces. The pARF server transmits the customizable options, synchronizes devices and collects data for export. We report two studies using the pARF that demonstrate respondent agreement of perceived emotion during particular sections of two dance works. Greater agreement was evident in continuous ratings of arousal than valence; arousal appears to be related to surface features of the dance work. Future applications of the pARF to studies of multi-modal perception and cognition are discussed. Crown Copyright (C) 2009 Published by Elsevier Ltd. All rights reserved.

引用

页码：800 / 813

页数：14

共 53 条

[1]

[Anonymous], 1999, PSYCHOL MUSIC

[2]

[Anonymous], MADE MOVE RES REPORT

[3]

[Anonymous], FUNDAMENTALS PHYSL P

[4]

Ariely D, 1998, J BEHAV DECIS MAKING, V11, P19, DOI 10.1002/(SICI)1099-0771(199803)11:1<19::AID-BDM277>3.0.CO

[5]

2-B

[6]

Barrett E., 2007, Practice as research: Approaches to creative arts enquiry

[7] The neural basis of human dance [J].

Brown, Steven ;

Martinez, Michael J. ;

Parsons, Lawrence M. .

CEREBRAL CORTEX, 2006, 16 (08) :1157-1167

[8] Action observation and acquired motor skills:: An fMRI study with expert dancers [J].

Calvo-Merino, B ;

Glaser, DE ;

Grèzes, J ;

Passingham, RE ;

Haggard, P .

CEREBRAL CORTEX, 2005, 15 (08) :1243-1249

[9] Recognizing emotion from dance movement:: comparison of spectator recognition and automated techniques [J].

Camurri, A ;

Lagerlöf, I ;

Volpe, G .

INTERNATIONAL JOURNAL OF HUMAN-COMPUTER STUDIES, 2003, 59 (1-2) :213-225

[10]

Cowie R., 2000, PROC ISCA WORKSHOP S, P19

← 1 2 3 4 5 6 →