Male dance moves that catch a woman's eye

Evaluations of dyadic synchrony: observers' traits influence estimation and enjoyment of synchrony in mirror-game movements

While evidence abounds that motor synchrony is a powerful form of 'social glue' for those involved, we have yet to understand how observers perceive motor synchrony: can observers estimate the degree of synchrony accurately? Is synchrony aesthetically pleasing? In two preregistered experiments (n = 161 each), we assess how accurately observers can estimate the degree of synchrony in dyads playing the mirror game, and how much observers enjoy watching these movements. We further assess whether accuracy and enjoyment are influenced by individual differences in self-reported embodied expertise (ability to reproduce movements, body awareness, body competence), psychosocial resources (extraversion, self-esteem), or social competencies (empathy, autistic traits), while objectively controlling for the degree of measured synchrony and complexity. The data revealed that observers' estimated synchrony with poor accuracy, showing a tendency to underestimate the level of synchrony. Accuracy for low synchrony improved with increasing body competence, while accuracy for high synchrony improved with increasing autistic traits. Observers' enjoyment of dyadic movements correlated positively with the degree of measured synchrony, the predictability of the movements, and the observer's empathy. Furthermore, very low enjoyment was associated with increased body perception. Our findings indicate that accuracy in perceiving synchrony is closely linked to embodiment, while aesthetic evaluations of action hinge on individual differences.

A limit to sustained performance constrains trill length in birdsong

In birds, song performance determines the outcome of contests over crucial resources. We hypothesized that 1) sustained performance is limited within song, resulting in a performance decline towards the end and 2) the impact of song length is compromised if performance declines. To test these hypotheses, we analyzed the songs of 597 bird species (26 families) and conducted a playback experiment on blue tits (Cyanistes caeruleus). Our multi-species analysis showed that song performance declines after sustained singing, supporting our hypothesis. If the performance decline is determined by individual attributes (i.e., physical condition), our results explain how trill length can honestly signal quality. Our experiment showed that longer trills of high performance elicited a stronger response during territorial interactions. However, long trills that declined in performance elicited a weaker response than short, high-performance trills. A trade-off between the duration and performance quality of a motor display can be an important aspect in communication across taxa.

Skewed performance distributions as evidence of motor constraint in sports and animal displays

Animal displays (i.e. movement-based signals) often involve extreme behaviours that seem to push signallers to the limits of their abilities. If motor constraints limit display performance, signal evolution will be constrained, and displays can function as honest signals of quality. Existing approaches for measuring constraint, however, require multiple kinds of behavioural data. A method that requires only one kind could open up new research directions. We propose a conceptual model of performance under constraint, which predicts that the distribution of constrained performance will skew away from the constraint. We tested this prediction with sports data, because we know a priori that athletic performance is constrained and that athletes attempt to maximize performance. Performance consistently skewed in the predicted direction in a variety of sports. We then used statistical models based on the skew normal distribution to estimate the constraints on athletes and displaying animals while controlling for potential confounds and clustered data. We concluded that motor constraints tend to generate skewed behaviour and that skew normal models are useful tools to estimate constraints from a single axis of behavioural data. This study expands the toolkit for identifying, characterizing, and comparing performance constraints for applications in animal behaviour, physiology and sports.

Discovering individual-specific gait signatures from data-driven models of neuromechanical dynamics

Locomotion results from the interactions of highly nonlinear neural and biomechanical dynamics. Accordingly, understanding gait dynamics across behavioral conditions and individuals based on detailed modeling of the underlying neuromechanical system has proven difficult. Here, we develop a data-driven and generative modeling approach that recapitulates the dynamical features of gait behaviors to enable more holistic and interpretable characterizations and comparisons of gait dynamics. Specifically, gait dynamics of multiple individuals are predicted by a dynamical model that defines a common, low-dimensional, latent space to compare group and individual differences. We find that highly individualized dynamics-i.e., gait signatures-for healthy older adults and stroke survivors during treadmill walking are conserved across gait speed. Gait signatures further reveal individual differences in gait dynamics, even in individuals with similar functional deficits. Moreover, components of gait signatures can be biomechanically interpreted and manipulated to reveal their relationships to observed spatiotemporal joint coordination patterns. Lastly, the gait dynamics model can predict the time evolution of joint coordination based on an initial static posture. Our gait signatures framework thus provides a generalizable, holistic method for characterizing and predicting cyclic, dynamical motor behavior that may generalize across species, pathologies, and gait perturbations.

Mirror, mirror on the wall, who is the fairest dancer of them all? A naturalistic lens model study on the judgment of dance performance

Success as a dancer is closely associated with positive dance judgments by perceivers. Although dancers' physical appearance (attractiveness, style) might affect dance judgments beyond dance-specific attributes (technique, expression), they have largely been unconsidered in previous studies. To contribute to a comprehensive explanation of real-life dance judgments, we applied the lens model, an approach explicitly developed to explain the emergence of social judgments by multiple attributes. Therefore, video-records of 70 solo performances were (1) rated regarding dancers' physical appearance, technique, and expression and (2) judged by 33 perceivers. Results of cross-classified mixed-effects models revealed that attributes of all domains were significantly related to dance judgements. Considered simultaneously, however, only dance-specific attributes contributed to the prediction of dance judgments. Additional moderation analyses underscored the importance of perceivers' expertise in judging dance. We discuss the lens model as suitable framework for a naturalistic approach to the study of aesthetic experiences and sports performances.

Sexual selection for both diversity and repetition in birdsong

From fiddler crabs to humans, animals perform repetitive displays showing neuromotor skill and vigour. Consistent repetition of identical notes (vocal consistency) facilitates the assessment of neuromotor skills and is important in communication in birds. Most birdsong research has focused on song diversity as a signal of individual quality, which seems contradictory as repetition is extremely common in most species. Here we show that consistent repetition within songs is positively correlated with reproductive success in male blue tits (Cyanistes caeruleus). A playback experiment shows that females are sexually aroused by male songs with high levels of vocal consistency, which also peaks seasonally during the fertile period of the female, supporting the role of vocal consistency in mate choice. Male vocal consistency also increases with subsequent repetitions of the same song type (a warm-up effect) which conflicts with the fact that females habituate to repeated song, showing decreased arousal. Importantly, we find that switching song types elicits significant dishabituation within the playback, supporting the habituation hypothesis as an evolutionary mechanism driving song diversity in birds. An optimal balance between repetition and diversity may explain the singing style of many bird species and displays of other animals.

Variability in energy expenditure is much greater in males than females

In mammals, trait variation is often reported to be greater among males than females. However, to date, mainly only morphological traits have been studied. Energy expenditure represents the metabolic costs of multiple physical, physiological, and behavioral traits. Energy expenditure could exhibit particularly high greater male variation through a cumulative effect if those traits mostly exhibit greater male variation, or a lack of greater male variation if many of them do not. Sex differences in energy expenditure variation have been little explored. We analyzed a large database on energy expenditure in adult humans (1494 males and 3108 females) to investigate whether humans have evolved sex differences in the degree of interindividual variation in energy expenditure. We found that, even when statistically comparing males and females of the same age, height, and body composition, there is much more variation in total, activity, and basal energy expenditure among males. However, with aging, variation in total energy expenditure decreases, and because this happens more rapidly in males, the magnitude of greater male variation, though still large, is attenuated in older age groups. Considerably greater male variation in both total and activity energy expenditure could be explained by greater male variation in levels of daily activity. The considerably greater male variation in basal energy expenditure is remarkable and may be explained, at least in part, by greater male variation in the size of energy-demanding organs. If energy expenditure is a trait that is of indirect interest to females when choosing a sexual partner, this would suggest that energy expenditure is under sexual selection. However, we present a novel energetics model demonstrating that it is also possible that females have been under stabilizing selection pressure for an intermediate basal energy expenditure to maximize energy available for reproduction.

Are There Differences in Experts' and Lay Assessors' Attractiveness Judgments of Non-Professional Men's Dance/Gait Movements?

Research on attractiveness assessments of men's dance has shown that raters derive and integrate information about male mating-related qualities into their attractiveness assessments, but prior studies have focused on lay assessors (i.e., individuals with no professional dance background) rather than dance experts. We recruited male and female Russian dance experts (n = 23) to judge gender-neutral, featureless virtual characters, animated with motion-captured dance movements and gaits of British men, and compared their dance assessments to those from a group of Russian male and female lay assessors (n = 73). The dance experts provided higher dance and gait attractiveness judgments than the lay assessors. Both groups judged the gait movements to be of higher attractiveness than the dance movements. Differences in attractiveness assessments between experts and lay assessors were larger for the male judges than for the female judges. In an additional survey, the dance experts (versus lay assessors) placed greater emphasis on the importance of dance-related capacities and skills. We discuss our findings with reference to past research on dance/gait attractiveness as assessed by lay judges and the role of expertise in assessing body movement.

Motion and Gender-Typing Features Interact in the Perception of Human Bodies

The human body conveys socially relevant information, including a person's gender. Several studies have shown that both shape and motion inform gender judgments of bodies. However, while body shape seems to influence more the judgment of female bodies, body motion seems to play a major role in the judgments of male bodies. Yet, the interdependence of morphologic and dynamic cues in shaping gender judgment and attractiveness evaluation in body perception is still unclear. In two experiments, we investigated how variations of implied motion and shape interact in perceptual and affective judgments of female and male bodies. In Experiment 1, participants were asked to provide ratings for masculinity and femininity of virtual renderings of human bodies with variable gender-typing features and implied motion. We found evidence of a tendency to perceive bodies in static poses as more feminine and bodies in dynamic poses as more masculine. In Experiment 2, participants rated the same pictures for dynamism and pleasantness. We found that male bodies were judged more dynamic than female bodies with the same pose. Also, female bodies were liked more in static than in dynamic poses. A mediation analysis allowed us to further shed light on the relationship between gender-typing features and motion, suggesting that the less is the movement conveyed by a female body, the greater is an observer's sensitivity to its femininity, and this leads to a more positive evaluation of its pleasantness. Our findings hint to an association between stillness and femininity in body perception, which can stem from either the evolutionary meaning of sexual selection and/or the influence of cultural norms.

Whole-body kinematics and coordination in a complex dance sequence: Differences across skill levels

This study examined differences across skill levels in the kinematics of a complex, whole-body, asymmetrical, cyclical dance sequence, the 'Alternate Basic' in Cha-Cha-Cha, to determine whether observed differences were consistent with Bernstein's (1967) model of development of coordination. Bernstein proposed that with novel motor skills, beginners move their bodies rigidly and spastically, freezing kinematic degrees of freedom (DOF) to constrain the motor system. As the skill becomes practised, the DOF unfreeze and movements become more dynamic, allowing the integration of reactional elements (passive forces, moments, etc.) and organisation of more complex coordinative structures. Twenty-nine dancers - beginners (n = 10), intermediates (n = 10), experts (n = 9) - performed 12 cycles of the dance sequence (total duration ~60 s). Three-dimensional kinematic data from 36 joint angles were collected using a 14-camera infrared motion capture system. Most joints displayed increased amplitude and speed of movement, especially early in skill progression (beginner-intermediate stage), with no evidence of any decreases, showing that unfreezing occurred around the general movement pattern early. Speed of movement continued to increase later (intermediate-expert stage), as well as further unfreezing of the upper limbs. Changes to intra-limb couplings were limited, comprising some early reductions in coupling strength. Principal component analyses (PCA) showed that the structure of movement became more organised with increased skill. There was an early reduction in the number of coordinative structures, while later, movement was integrated more into the first coordinative structure. As predicted by Bernstein's coordination development model, therefore, the kinematic DOF unfroze as skill level progressed, leading to increased organisation of coordinative structures. The results of this study support the importance of a whole-body perspective in studies of coordination, with incorporation of kinetic variables in future research in order to examine the role that reactional elements play in motor skill development.

Reliability of Judging in DanceSport

PURPOSE

The aim of this study was to assess the reliability and validity of the new judging system in DanceSport.

METHODS

Eighteen judges rated the 12 best placed adult dancing couples competing at an international competition. They marked each couple on all judging criteria on a 10 level scale. Absolute agreement and consistency of judging were calculated for all main judging criteria and sub-criteria.

RESULTS

A mean correlation of overall judging marks was 0.48. Kendall's coefficient of concordance for overall marks (W = 0.58) suggesting relatively low agreement among judges. Slightly lower coefficients were found for the artistic part [Partnering skills (W = 0.45) and Choreography and performance (W = 0.49)] compared to the technical part [Technical qualities (W = 0.56) and Movement to music (W = 0.54)]. ICC for overall criteria was low for absolute agreement [ICC(2,3) = 0.62] but higher for consistency [ICC(3,3) = 0.80].

CONCLUSION

The relatively large differences between judges' marks suggest that judges either disagreed to some extent on the quality of the dancing or used the judging scale in different ways. The biggest concern was standard error of measurement (SEM) which was often larger than the difference between dancers scores suggesting that this judging system lacks validity. This was the first research to assess judging in DanceSport and offers suggestions to potentially improve both its objectivity and validity in the future.

The role of skill in animal contests: a neglected component of fighting ability

What attributes make some individuals more likely to win a fight than others? A range of morphological and physiological traits have been studied intensely but far less focus has been placed on the actual agonistic behaviours used. Current studies of agonistic behaviour focus on contest duration and the vigour of fighting. It also seems obvious that individuals that fight more skilfully should have a greater chance of winning a fight. Here, we discuss the meaning of skill in animal fights. As the activities of each opponent can be disrupted by the behaviour of their rival, we differentiate among ability, technique and skill itself. In addition to efficient, accurate and sometimes precise movement, skilful fighting also requires rapid decision-making, so that appropriate tactics and strategies are selected. We consider how these different components of skill could be acquired, through genes, experiences of play-fighting and of real fights. Skilful fighting can enhance resource holding potential (RHP) by allowing for sustained vigour, by inflicting greater costs on opponents and by minimizing the chance of damage. Therefore, we argue that skill is a neglected but important component of RHP that could be readily studied to provide new insights into the evolution of agonistic behaviour.

Not all about sex: neural and biobehavioral functions of human dance

This paper provides an integrative review of neuroscientific and biobehavioral evidence about the effects of dance on the individual across cultural differences. Dance moves us, and many derive aesthetic pleasure from it. However, in addition-and beyond aesthetics-we propose that dance has noteworthy, deeper neurobiological effects. We first summarize evidence that illustrates the centrality of dance to human life indirectly from archaeology, comparative psychology, developmental psychology, and cross-cultural psychology. Second, we review empirical evidence for six neural and biobehavioral functions of dance: (1) attentional focus/flow, (2) basic emotional experiences, (3) imagery, (4) communication, (5) self-intimation, and (6) social cohesion. We discuss the reviewed evidence in relation to current debates in the field of empirical enquiry into the functions of human dance, questioning the positions that dance is (1) just for pleasure, (2) all about sex, (3) just for mood management and well-being, and (4) for experts only. Being a young field, evidence is still piecemeal and inconclusive. This review aims to take a step toward a systematization of an emerging avenue of research: a neuro- and biobehavioral science of dance.

Joint action aesthetics

Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers' movements, and the spectators' affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators' heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance-and perhaps all performing arts-in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts.

Optimal asymmetry and other motion parameters that characterise high-quality female dance

Dance is a universal human behaviour that is observed particularly in courtship contexts, and that provides information that could be useful to potential partners. Here, we use a data-driven approach to pinpoint the movements that discriminate female dance quality. Using 3D motion-capture we recorded women whilst they danced to a basic rhythm. Video clips of 39 resultant avatars were rated for dance quality, and those ratings were compared to quantitative measurements of the movement patterns using multi-level models. Three types of movement contributed independently to high-quality female dance: greater hip swing, more asymmetric movements of the thighs, and intermediate levels of asymmetric movements of the arms. Hip swing is a trait that identifies female movement, and the ability to move limbs asymmetrically (i.e. independently of the other) may attest to well-developed motor control, so long as this limb independence does not verge into uncontrolled pathological movement. We also found that the same level of dance quality could be predicted by different combinations of dance features. Our work opens avenues to exploring the functional significance, informational content, and temporal sequencing of the different types of movement in dance.

The virtual lover: variable and easily guided 3D fish animations as an innovative tool in mate-choice experiments with sailfin mollies-II. Validation

The use of computer animation in behavioral research is a state-of-the-art method for designing and presenting animated animals to live test animals. The major advantages of computer animations are: (1) the creation of animated animal stimuli with high variability of morphology and even behavior; (2) animated stimuli provide highly standardized, controlled and repeatable testing procedures; and (3) they allow a reduction in the number of live test animals regarding the 3Rs principle. But the use of animated animals should be attended by a thorough validation for each test species to verify that behavior measured with live animals toward virtual animals can also be expected with natural stimuli. Here we present results on the validation of a custom-made simulation for animated 3D sailfin mollies Poecilia latipinna and show that responses of live test females were as strong to an animated fish as to a video or a live male fish. Movement of an animated stimulus was important but female response was stronger toward a swimming 3D fish stimulus than to a "swimming" box. Moreover, male test fish were able to discriminate between animated male and female stimuli; hence, rendering the animated 3D fish a useful tool in mate-choice experiments with sailfin mollies.

What is orgasm? A model of sexual trance and climax via rhythmic entrainment

Orgasm is one of the most intense pleasures attainable to an organism, yet its underlying mechanisms remain poorly understood. On the basis of existing literatures, this article introduces a novel mechanistic model of sexual stimulation and orgasm. In doing so, it characterizes the neurophenomenology of sexual trance and climax, describes parallels in dynamics between orgasms and seizures, speculates on possible evolutionary origins of sex differences in orgasmic responding, and proposes avenues for future experimentation. Here, a model is introduced wherein sexual stimulation induces entrainment of coupling mechanical and neuronal oscillatory systems, thus creating synchronized functional networks within which multiple positive feedback processes intersect synergistically to contribute to sexual experience. These processes generate states of deepening sensory absorption and trance, potentially culminating in climax if critical thresholds are surpassed. The centrality of rhythmic stimulation (and its modulation by salience) for surpassing these thresholds suggests ways in which differential orgasmic responding between individuals-or with different partners-may serve as a mechanism for ensuring adaptive mate choice. Because the production of rhythmic stimulation combines honest indicators of fitness with cues relating to potential for investment, differential orgasmic response may serve to influence the probability of continued sexual encounters with specific mates.

"It Don't Mean a Thing if It Ain't Got that Swing"- an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings

The functions of dance and music in human evolution are a mystery. Current research on the evolution of music has mainly focused on its melodic attribute which would have evolved alongside (proto-)language. Instead, we propose an alternative conceptual framework which focuses on the co-evolution of rhythm and dance (R&D) as intertwined aspects of a multimodal phenomenon characterized by the unity of action and perception. Reviewing the current literature from this viewpoint we propose the hypothesis that R&D have co-evolved long before other musical attributes and (proto-)language. Our view is supported by increasing experimental evidence particularly in infants and children: beat is perceived and anticipated already by newborns and rhythm perception depends on body movement. Infants and toddlers spontaneously move to a rhythm irrespective of their cultural background. The impulse to dance may have been prepared by the susceptibility of infants to be soothed by rocking. Conceivable evolutionary functions of R&D include sexual attraction and transmission of mating signals. Social functions include bonding, synchronization of many individuals, appeasement of hostile individuals, and pre- and extra-verbal communication enabling embodied individual and collective memorizing. In many cultures R&D are used for entering trance, a base for shamanism and early religions. Individual benefits of R&D include improvement of body coordination, as well as painkilling, anti-depressive, and anti-boredom effects. Rhythm most likely paved the way for human speech as supported by studies confirming the overlaps between cognitive and neural resources recruited for language and rhythm. In addition, dance encompasses visual and gestural communication. In future studies attention should be paid to which attribute of music is focused on and that the close mutual relation between R&D is taken into account. The possible evolutionary functions of dance deserve more attention.

Key motion characteristics of side-step movements in hip-hop dance and their effect on the evaluation by judges

In hip-hop dance, the elements of motion that discriminate the skill levels of dancers and that influence the evaluations by judges have not been clearly identified. This study set out to extract these motion characteristics from the side-step movements of hip-hop dancing. Eight expert and eight non-expert dancers performed side-step movements, which were recorded using a motion capture system. Nine experienced judges evaluated the dancers' performances. Several parameters, including the range of motion (ROM) of the joint angles (neck, trunk, hip, knee, and face inclination) and phase delays between these angular motions were calculated. A quarter-cycle phase delay between the neck motion and other body parts, seen only in the expert dancers, is highlighted as an element that can distinguish dancers' skill levels. This feature of the expert dancers resulted in a larger ROM during the face inclination than that for the non-expert dancers. In addition, the experts exhibited a bottom-to-top segmental sequence in the horizontal direction while the non-experts did not demonstrate any such sequential motion. Of these kinematic parameters, only the ROM of the face inclination was highly correlated to the judging score and is regarded as being the most appealing element of the side-step movement.

Shaking Takete and Flowing Maluma. Non-Sense Words Are Associated with Motion Patterns

People assign the artificial words takete and kiki to spiky, angular figures and the artificial words maluma and bouba to rounded figures. We examined whether such a cross-modal correspondence could also be found for human body motion. We transferred the body movements of speakers onto two-dimensional coordinates and created animated stick-figures based on this data. Then we invited people to judge these stimuli using the words takete-maluma, bouba-kiki, and several verbal descriptors that served as measures of angularity/smoothness. In addition to this we extracted the quantity of motion, the velocity of motion and the average angle between motion vectors from the coordinate data. Judgments of takete (and kiki) were related to verbal descriptors of angularity, a high quantity of motion, high velocity and sharper angles. Judgments of maluma (or bouba) were related to smooth movements, a low velocity, a lower quantity of motion and blunter angles. A forced-choice experiment during which we presented subsets with low and high rankers on our motion measures revealed that people preferably assigned stimuli displaying fast movements with sharp angles in motion vectors to takete and stimuli displaying slow movements with blunter angles in motion vectors to maluma. Results indicated that body movements share features with information inherent in words such as takete and maluma and that people perceive the body movements of speakers on the level of changes in motion direction (e.g., body moves to the left and then back to the right). Follow-up studies are needed to clarify whether impressions of angularity and smoothness have similar communicative values across different modalities and how this affects social judgments and person perception.

Is Beauty in the Eyes of the Beholder? Aesthetic Quality versus Technical Skill in Movement Evaluation of Tai Chi

The aim of this study was to compare experts to naïve practitioners in rating the beauty and the technical quality of a Tai Chi sequence observed in video-clips (of high and middle level performances). Our hypothesis are: i) movement evaluation will correlate with the level of skill expressed in the kinematics of the observed action but ii) only experts will be able to unravel the technical component from the aesthetic component of the observed action. The judgments delivered indicate that both expert and non-expert observers are able to discern a good from a mediocre performance; however, as expected, only experts discriminate the technical from the aesthetic component of the action evaluated and do this independently of the level of skill shown by the model (high or middle level performances). Furthermore, the judgments delivered were strongly related to the kinematic variables measured in the observed model, indicating that observers rely on specific movement kinematics (e.g. movement amplitude, jerk and duration) for action evaluation. These results provide evidence of the complementary functional role of visual and motor action representation in movement evaluation and underline the role of expertise in judging the aesthetic quality of movements.

Integrating body movement into attractiveness research

People judge attractiveness and make trait inferences from the physical appearance of others, and research reveals high agreement among observers making such judgments. Evolutionary psychologists have argued that interest in physical appearance and beauty reflects adaptations that motivate the search for desirable qualities in a potential partner. Although men more than women value the physical appearance of a partner, appearance universally affects social perception in both sexes. Most studies of attractiveness perceptions have focused on third party assessments of static representations of the face and body. Corroborating evidence suggests that body movement, such as dance, also conveys information about mate quality. Here we review evidence that dynamic cues (e.g., gait, dance) also influence perceptions of mate quality, including personality traits, strength, and overall attractiveness. We recommend that attractiveness research considers the informational value of body movement in addition to static cues, to present an integrated perspective on human social perception.

Changes in Women's Attractiveness Perception of Masculine Men's Dances across the Ovulatory Cycle: Preliminary Data

Women's preferences for putative cues of genetic quality in men's voices, faces, bodies, and behavioral displays are stronger during the fertile phase of the ovulatory cycle. Here we show that ovulatory cycle-related changes in women's attractiveness perceptions of male features are also found with dance movements, especially those perceived as highly masculine. Dance movements of 79 British men were recorded with an optical motion-capture system whilst dancing to a basic rhythm. Virtual humanoid characters (avatars) were created and converted into 15-second video clips and rated by 37 women on masculinity. Another 23 women judged the attractiveness of the 10 dancers who scored highest and those 10 who scored lowest on masculinity once in days of high fertility and once in days of low fertility of their ovulatory cycle. High-masculine dancers were judged higher on attractiveness around ovulation than on other cycle days, whilst no such perceptual difference was found for low-masculine dancers. We suggest that women may gain fitness benefits from evolved preferences for masculinity cues they obtain from male dance movements.

Motion cues that make an impression: Predicting perceived personality by minimal motion information

The current study presents a methodology to analyze first impressions on the basis of minimal motion information. In order to test the applicability of the approach brief silent video clips of 40 speakers were presented to independent observers (i.e., did not know speakers) who rated them on measures of the Big Five personality traits. The body movements of the speakers were then captured by placing landmarks on the speakers' forehead, one shoulder and the hands. Analysis revealed that observers ascribe extraversion to variations in the speakers' overall activity, emotional stability to the movements' relative velocity, and variation in motion direction to openness. Although ratings of openness and conscientiousness were related to biographical data of the speakers (i.e., measures of career progress), measures of body motion failed to provide similar results. In conclusion, analysis of motion behavior might be done on the basis of a small set of landmarks that seem to capture important parts of relevant nonverbal information.

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Body movements of politicians making a speech were captured.

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Short video clips of these speeches were rated on personality.

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Motion cues were related to personality traits and measures of career progress.

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Simple motion cues and simple cognitive processes may guide impression formation.

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Simple motion cues may play an important role in human communication.

Changes in women's attractiveness perception of masculine men's dances across the ovulatory cycle: preliminary data

Women's preferences for putative cues of genetic quality in men's voices, faces, bodies, and behavioral displays are stronger during the fertile phase of the ovulatory cycle. Here we show that ovulatory cycle-related changes in women's attractiveness perceptions of male features are also found with dance movements, especially those perceived as highly masculine. Dance movements of 79 British men were recorded with an optical motion-capture system whilst dancing to a basic rhythm. Virtual humanoid characters (avatars) were created and converted into 15-second video clips and rated by 37 women on masculinity. Another 23 women judged the attractiveness of the 10 dancers who scored highest and those 10 who scored lowest on masculinity once in days of high fertility and once in days of low fertility of their ovulatory cycle. High-masculine dancers were judged higher on attractiveness around ovulation than on other cycle days, whilst no such perceptual difference was found for low-masculine dancers. We suggest that women may gain fitness benefits from evolved preferences for masculinity cues they obtain from male dance movements.

Male body movements as possible cues to physical strength: a biomechanical analysis

OBJECTIVES

Comparative research suggests that male courtship displays signal condition-dependent traits tofemales; these displays might also provide cues to potential male competitors. Although some associations betweenhuman movements and physical/behavioral qualities have been found, such research has typically only been conducted from a perspective of female mate choice. Here, using advanced motion capture and biomechanical analyses, we examine the extent to which male dancing provides cues about the dancer's physical qualities to both males and females.

METHODS

Thirty men aged 19-37 were recorded using motion-capture technology as they danced to a standard rhythm. Participants also completed a vascular fitness test, assessments of upper- and lower-body strength, and biomechanical indices were extracted from their dance movements. Dance clips were converted into virtual humanoid characters (avatars) and rated by 27 women and 21 men on perceived dance quality.

RESULTS

General linear mixed modeling revealed that both handgrip strength and arm movements of the dancer were statistically significant predictors of dance quality ratings; stronger males who displayed larger, more variable, and faster movements of their arms being rated as better dancers. There was no effect of the sex of the observer in predicting dance quality ratings, indicating that male and female observers rated dance quality equivalently. Physical fitness was not associated with perceived dance quality.

CONCLUSIONS

Men and women are able to derive certain quality cues from observing male dance movements in the form of controlled stimuli. Thus, male dancing may form a condition-dependent ornament of certain aspects of mate quality.

Kinematic Parameters That Influence the Aesthetic Perception of Beauty in Contemporary Dance

Some experiments have stablished that certain kinematic parameters can influence the subjective aesthetic perception of the dance audience. Neave, McCarty, Freynik, Caplan, Hönekopp, and Fink (2010, Biology Letters 7 221–224) reported eleven movement parameters in non-expert male dancers, showing a significant positive correlation with perceived dance quality. We aim to identify some of the kinematic parameters of expert dancers' movements that influence the subjective aesthetic perception of observers in relation to specific skills of contemporary dance. Four experienced contemporary dancers performed three repetitions of four dance-related motor skills. Motion was captured by a VICON-MX system. The resulting 48 animations were viewed by 108 observers. The observers judged beauty using a semantic differential. The data were then subjected to multiple factor analysis. The results suggested that there were strong associations between higher beauty scores and certain kinematic parameters, especially those related to amplitude of movement.

Nothing in Popular Culture Makes Sense except in the Light of Evolution

An evolutionary lens can inform the study of cultural forms in a myriad of ways. These can be construed as adaptations, as exaptations (evolutionary byproducts), as gene–culture interactions, as memes, or as fossils of the human mind. Products of popular culture (e.g., song lyrics, movie themes, romance novels) are to evolutionary cultural theorists what fossils and skeletal remains represent to paleontologists. Although human minds do not fossilize or skeletonize (the cranium does), the cultural products created by human minds do. By identifying universally recurring themes for a given cultural form (song lyrics and collective wisdoms in the current article), spanning a wide range of cultures and time periods, one is able to test key tenets of evolutionary psychology. In addition to using evolutionary psychology to understand the contents of popular culture, the discipline can itself be studied as a contributor to popular culture. Beginning with the sociobiology debates in the 1970s, evolutionary informed analyses of human behavior have engendered great fascination and animus among the public at large. Following a brief summary of studies that have explored the diffusion of the evolutionary behavioral sciences within specific communities (e.g., the British media), I offer a case analysis of the penetration of evolutionary psychology within the blogosphere, specifically the blog community hosted by Psychology Today.

Female choice for male motor skills

Sexual selection was proposed by Darwin to explain the evolution of male sexual traits such as ornaments and elaborate courtship displays. Empirical and theoretical studies have traditionally focused on ornaments; the reasons for the evolution of elaborate, acrobatic courtship displays remain unclear. We addressed the hypothesis that females choose males on the basis of subtle differences in display performance, indicating motor skills that facilitate survival. Male golden-collared manakins (Manacus vitellinus) perform elaborate, acrobatic courtship displays. We used high-speed cameras to record the displays of wild males and analysed them in relation to male reproductive success. Females preferred males that performed specific display moves at greater speed, with differences of tens of milliseconds strongly impacting female preference. In additional males, we recorded telemetrically the heart rate during courtship using miniature transmitters and found that courtship is associated with profoundly elevated heart rates, revealing a large metabolic investment. Our study provides evidence that females choose their mates on the basis of subtle differences in motor performance during courtship. We propose that elaborate, acrobatic courtship dances evolve because they reflect motor skills and cardiovascular function of males.