Dance Data, Cognition, and Multimodal Communication

Dance Data, Cognition, and Multimodal Communication is the result of a collaborative and transdisciplinary effort towards a first definition of "dance data", with its complexities and contradictions, in a time where cognitive science is growing in parallel to the need of a renewed awareness of the body’s agency in our manyfold interactions with the world. It is a reflection on the observation of bodily movements in artistic settings, and one that views human social interactions, multimodal communication, and cognitive processes through a different lens—that of the close collaboration between performing artists, designers, and scholars. This collection focuses simultaneously on methods and technologies for creating, documenting, or representing dance data. The editors highlight works focusing on the dancers’ embodied minds, including research using neural, cognitive, behavioural, and linguistic data in the context of dance composition processes. Each chapter deals with dance data from an interdisciplinary perspective, presenting theoretical and methodological discussions emerging from empirical studies, as well as more experimental ones. The book, which includes digital Support Material on the volume's Routledge website, will be of great interest to students and scholars in contemporary dance, neuro-cognitive science, intangible cultural heritage, performing arts, cognitive linguistics, embodiment, design, new media, and creativity studies.

List of Illustrations List of Contributors Introduction CARLA FERNANDES Part I Performance-as-Research: Dance data from the artists’ perspectives 1 Negotiating deliberate choice-making: Insights from an interdisciplinary and multimodal encounter during the making of a New Contemporary Dance SYLVIA RIJMER 2 Dance | Data | Storytelling STEPHAN JÜRGENS 3 Enabling multimodal interaction in mixed-abled dance: Insights into creating highly accessible teaching tools for inclusive cultural work SUSANNE QUINTEN AND MIA SOPHIA BILITZA Part II Dance documentation and dance scores 4 Recording "Effect": A case study in technical, practical, and critical perspectives on dance data creation DAVID RITTERSHAUS, ANTON KOCH, SCOTT DELAHUNTA, AND FLORIAN JENETT 5 Digital-born artworks and interactive experience: Documentation and archiving PAULA VARANDA 6 Dance scoring and en-action as a creative tool for dance documentation BERTHA BERMU´DEZ-PASCUAL 7 Terpsicore– dance and performing arts archive DANIEL TÉRCIO, CATARINA CANELAS, AND ANA LUÍSA VALDEIRA Part III Computational dance data: Between the real and the virtual 8 Augmented seeing and sensing ANGUS G. FORBES 9 Motion capture and the digital dance aesthetic: Using inertial sensor motion tracking for devising and producing contemporary dance performance DANIEL STRUTT 10 Capturing and visualizing 3D dance data: Challenges and lessons learnt CLÁUDIA RIBEIRO, RAFAEL KUFFNER, AND CARLA FERNANDES Part IV The brain’s experience of dance 11 The embodied neuroaesthetics of watching dance EMILY S. CROSS AND REBECCA SMITH 12 Dancing neurons: Common brain activity fMRI analysis of the cerebral phenomena behind dance perception SOFIA AMARAL MARTINS AND FRANK POLLICK 13 "I see something, and I like it": Unveiling a choreographer’s decision-making process using quantitative and qualitative methods ANA RITAFONSECA, RODRIGOABRIL-DE-ABREU, AND CARLA FERNANDES Part V Dance expertise and cognition 14 Dance expertise, embodied cognition, and the body in the brain BETTINA BLÄSING 15 What makes dancers extraordinary? Insights from a cognitive science perspective CARLA FERNANDES, VITO EVOLA, AND JOANNA SKUBISZ 16 The role of dance experience, visual processing strategies, and quantitative movement features in recognition of emotion from whole-body movements REBECCA SMITH AND FRANK POLLICK Part VI Cognitive metaphor and gestures in dance and theatre 17 Unpeeling meaning: An analogy and metaphor identification and analysis tool for modern and post-modern dance, and beyond VICKY J . FISHER 18 Understanding non-verbal metaphor: A cognitive approach to metaphor in dance LACEY OKONSKI, JULIE MADDEN, AND KAITLIN TOTHPAL 19 Study on hand movements accompanied during the description of dance appreciation ZI HYUN KIM AND HEDDA LAUSBERG 20 Reduction of gesticulation and information patterning strategies in acted speech GIORGINA CANTALINI AND MASSIMO MONEGLIA 21 Lines of experience: Towards a research method MICHAEL O’CONNOR Note about Funding Index Contributors Rodrigo Abril-de-Abreu is an Invited Researcher at BlackBox, Faculdade deCiências Sociais e Humanas, Universidade Nova de Lisboa. He holds a PhDin Neuroscience, with a specialization in Social Behaviour. His mainresearch interests lie in the topics of cooperation, empathy, and sociallearning in human and non-human animals. Bertha Bermúdez-Pascual is an Artist, Independent Researcher, and anExternal PhD student at the Faculty of Humanities, Capaciteitsgroep Media &Cultuur, Amsterdam University, Amsterdam, The Netherlands. Her researchinterests focus on dance transmission, documentation, archiving, anddissemination using digital media. She has coordinated transdisciplinaryresearch projects (Capturing) Intention, Inside Movement Knowledge, andPre-choreographic Elements between 2005 and 2014. Currently she isfinishing her PhD Performing Archives at the Amsterdam University whileworking as independent advisor and coordinator for dance projects and artisticprocesses. Mia Sophia Bilitza is a Research Assistant at the faculty of RehabilitationScience in Music and Movement in Rehabilitation and Pedagogy inDisability, TU Dortmund University, Germany. She is currently obtainingher PhD about respect behaviour in dance contexts and its possibilities forchange in heterogenous societies. Her research interests are respect, dance,integration, and inclusion. She is also a choreographer and dance managerand works internationally in the field of community dance. Bettina Bläsing is a Lecturer in Rehabilitation Science at the TechnicalUniversity Dortmund, Germany. After completing her PhD in Biology,she worked as a Postdoctoral Researcher at the Max-Planck-Institute forEvolutionary Anthropology at Leipzig and at the Center of ExcellenceCognitive Interaction Technology at Bielefeld. In 2019, she received thevenia legendi in Sport Science at Bielefeld University for completing herhabilitation on memory, learning, and expertise in dance. Catarina Canelas is a Junior Researcher at Instituto de Etnomusicologia –Centro De Estudos Em Música e Dança at the Faculty of Human Kinetics ofthe University of Lisbon (FMH-UL). She has been working on Terpsicore(dance and performing arts archive) since 2017. This is her first article to bepublished. She has both degrees in Dance from FMH-UL and in SocialPolicy from Instituto Superior de Ciências Sociais e Políticas, LisbonUniversity. Giorgina Cantalini is a Didactic Manager at the Civica Scuola di Teatro PaoloGrassi and Professor of Italian and Communication at the Civica ScuolaInterpreti e Traduttori Altiero Spinelli, both in Milan, Italy. She obtained herPhD in Linguistics at Roma Tre University in 2018 with a dissertation onGesture/Prosody Synchronization in Acting and Spontaneous Speech. She isan actress and a drama professor as well, and she has developed a technique forexploiting body movements for expressive reading. Emily S. Cross is a Professor of Social Robotics within the Institute ofNeuroscience and Psychology at the University of Glasgow in Scotland andProfessor of Human Neuroscience within the Department of CognitiveScience at Macquarie University in Australia. She obtained her PhD inCognitive Neuroscience from Dartmouth College in 2008 and has dancedand toured with several contemporary dance companies in the USA, UK,and NZ. She currently directs the Social Brain in Action laboratory, whichexplores how different kinds of experience shape brain and behaviour. Scott deLahunta is a Professor of Dance, Centre for Dance Research,Coventry University (UK) and co-directing (with Florian Jenett) MotionBank, Hochschule Mainz – University of Applied Sciences, Germany. Hehas worked as writer, researcher, and organiser on a range of internationalprojects, bringing performing arts with a focus on choreography intoconjunction with other disciplines and practices. http://www.sdela.dds.nl. Vito Evola is currently a Researcher in Cognitive Linguistics and MultimodalCommunication at the Universidade Nova de Lisboa, having previouslylectured and conducted research at universities in Palermo, Berkeley,Cleveland, Aachen, and Geneva. His research lies at the intersection oflanguage, culture, and cognition, and analyses data from both commonand more specialized contexts, such as patient–doctor interactions,psychotherapy and forensic interviews, religious discourse, and theperforming arts. Carla Fernandes is Principal Investigator, Head of ICNOVA’s ResearchGroup on Performance & Cognition, and Professor at FCSH – Universidade NOVA deLisboa, where she directs the ERC-funded “BlackBox LABArts&Cognition.” Her current research focus is in the intersection ofPerforming Arts and Cognitive Science, Multimodal Communication,Intangible Cultural Heritage and New Media, fascinated by the complexityof the human mind and non-verbal behavior in creativity settings. Sheholds a PhD in Linguistics, supervises numerous PhD and MA theses, and isauthor in international indexed journals and books.

Carla Fernandes is Principal Investigator, Head of ICNOVA’s Research Group on Performance & Cognition, and Professor at FCSH – Universidade Nova de Lisboa, where she directs the ERC-funded "BlackBox LAB Arts&Cognition." Her current research focus is in the intersection of Performing Arts and Cognitive Science, Multimodal Communication, Intangible Cultural Heritage, and New Media. She is fascinated by the complexity of the human mind and non-verbal behavior in creativity settings. She holds a PhD in Linguistics, supervises numerous PhD and MA theses, and is author in international indexed peer-reviewed journals and books. Vito Evola is currently a Researcher in Cognitive Linguistics and Multimodal Communication at the Universidade Nova de Lisboa, having previously lectured and conducted research at universities in Palermo, Berkeley, Cleveland, Aachen, and Geneva. His research lies at the intersection of language, culture, and cognition, and analyses data from both common and more specialized contexts, such as patient–doctor interactions, psychotherapy and forensic interviews, religious discourse, and the performing arts. Cláudia Ribeiro is a Postdoctoral Researcher at FCUL, in the research group LASIGE. She obtained her PhD in Information Systems and Computer Engineering at the University of Lisbon. Her research interests include machine learning, deep learning (focusing on emotion recognition in multimedia content), and interactive systems.