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  1.  23
    The Choreography of Group Affiliation.Jorina von Zimmermann, Staci Vicary, Matthias Sperling, Guido Orgs & Daniel C. Richardson - 2018 - Topics in Cognitive Science 10 (1):80-94.
    Dance provides natural conditions for studying relationships between coordination patterns and human experience. von Zimmermann and colleagues investigate whether relatively simple or more complex forms of movement coordination are related to pro‐social experiences during group dance. They find that pro‐social experience depends on the degree to which movement patterns are distributed and diversified, but not the degree to which movement patterns are simply unitary.
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  2.  27
    The Choreography of Group Affiliation.Jorina Zimmermann, Staci Vicary, Matthias Sperling, Guido Orgs & Daniel C. Richardson - 2018 - Topics in Cognitive Science 10 (1):80-94.
    When two people move in synchrony, they become more social. Yet it is not clear how this effect scales up to larger numbers of people. Does a group need to move in unison to affiliate, in what we term unitary synchrony; or does affiliation arise from distributed coordination, patterns of coupled movements between individual members of a group? We developed choreographic tasks that manipulated movement synchrony without explicitly instructing groups to move in unison. Wrist accelerometers measured group movement dynamics and (...)
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  3.  18
    Timing is everything: Dance aesthetics depend on the complexity of movement kinematics.Andrea Orlandi, Emily S. Cross & Guido Orgs - 2020 - Cognition 205 (C):104446.
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  4.  46
    Learning to like it: Aesthetic perception of bodies, movements and choreographic structure.Guido Orgs, Nobuhiro Hagura & Patrick Haggard - 2013 - Consciousness and Cognition 22 (2):603-612.
    Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical and asymmetrical sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of (...)
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  5.  23
    Dancing robots: Social interactions are performed, not depicted.Guido Orgs & Emily S. Cross - 2023 - Behavioral and Brain Sciences 46:e40.
    Clark and Fischer's depiction hypothesis is based on examples of western mimetic art. Yet social robots do not depict social interactions, but instead perform them. Similarly, dance and performance art do not rely on depiction. Kinematics and expressivity are better predictors of dance aesthetics and of effective social interactions. In this way, social robots are more like dancers than actors.
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