ISSN: 1795-6889
www.human echnology.jyu. i Volume 13(1), May 2017, 32–57
32
BODY, SPACE, AND EMOTION: A PERCEPTUAL STUDY
Abs ac : The p esen s udy aims a p o iding a sys ema ic accoun o emo ion
pe cep ion applied o exp essi e ull-body mo emen . Wi hin he amewo k o he lens
model, we iden i ied he decoding p ocess unde lying one’s capaci y o ca ego ize
emo ions while wa ching o he s’ beha io s. We conside ed he applica ion o Laban
mo emen analysis, a me hod ocusing on quali a i e aspec s o mo emen . An o iginal
© 2017 Donald Glowinski, Sélim Yahia Coll, Naëm Ba on, Maë a Sanchez,
Simon Schae laeken, & Didie G andjean, and he Open Science Cen e,
Uni e si y o Jy äskylä
DOI: h p://dx.doi.o g/10.17011/h /u n.201705272517
This wo k is licensed unde a C ea i e Commons A ibu ion-NonComme cial 4.0 In e na ional License.
Donald Glowinski
Neu oscience o Emo ion and A ec i e
Dynamics (NEAD Lab), Facul y o
Psychology and Educa ional Sciences,
and he Swiss Cen e o A ec i e Sciences
(SCAS), Uni e si y o Gene a
and
Swiss In eg a i e Cen e o Human Heal h
(SICHH), F ibou g
Swi ze land
Didie G andjean
Neu oscience o Emo ion and A ec i e
Dynamics (NEAD Lab), Facul y o
Psychology and Educa ional Sciences,
and he Swiss Cen e o A ec i e Sciences
(SCAS), Uni e si y o Gene a
Swi ze land
Simon Schae laeken
Neu oscience o Emo ion and A ec i e
Dynamics (NEAD Lab), Facul y o
Psychology and Educa ional Sciences,
and he Swiss Cen e o A ec i e Sciences
(SCAS), Uni e si y o Gene a
Swi ze land
Maë a Sanchez
Neu oscience o Emo ion and A ec i e
Dynamics (NEAD Lab), Facul y o
Psychology and Educa ional Sciences,
Uni e si y o Gene a
Swi ze land
Naëm Ba on
Neu oscience o Emo ion and A ec i e
Dynamics (NEAD Lab), Facul y o
Psychology and Educa ional Sciences,
Uni e si y o Gene a
Swi ze land
Sélim Yahia Coll
Neu oscience o Emo ion and A ec i e
Dynamics (NEAD Lab), Facul y o
Psychology and Educa ional Sciences,
and he Swiss Cen e o A ec i e Sciences
(SCAS), Uni e si y o Gene a
Swi ze land
Body, Space, and Emo ion: A Pe cep ual S udy
33
expe imen al se up used a con empo a y cho eog aphy in e p e ed by ou expe
dance s in an en i onmen ha es ic ed hei mo emen o hei pe ipe sonal space.
Each pe o mance consis ed o a sub le o in ense emo ional in e p e a ion o he
cho eog aphy (e.g., happiness, ange , su p ise, ea , and sadness). Resul s showed ha
emo ions being exp essed in his con ined en i onmen could s ill be iden i ied,
ca ego ized, and associa ed wi h a p o ile o mo emen quali ies and speci ic body pa s.
Keywo ds: non e bal exp essi e mo emen , emo ion, pe ipe sonal space, lens model,
Laban mo emen analysis, dance, cho eog aphy.
INTRODUCTION: BODY, SPACE AND EMOTIONS
The body is a ool o unpa alleled powe o exp essing emo ion beyond he use o e bal
u e ances, and his issue has been he ocus o nume ous esea ch s udies (e.g., de Gelde ,
2013; Glowinski e al., 2011; Wallbo , 1998). Howe e , he ela ionship be ween space and he
body’s emo ion exp ession powe s has been a less s udied. This is due in pa o p io
di icul ies in explo ing and eco ding human in e ac ion o body exp ession wi h a high deg ee
o p ecision and lexibili y. Mos o he pe o mances eco ded o scien i ic expe imen s ake
place wi hin a labo a o y se ing o allow absolu e con ol o e ligh ing condi ions ha
o he wise migh a ec he obus ness o he acking. In ac , a ewe s udies engage he
na u al se ing o he pe o mance (e.g., open-ai pe o mance and hea e). The ole o space,
and speci ically he impac o a small space, on he p og ession o mo emen , pa icula ly on
he ull-body exp ession o an indi idual’s emo ion, emains o be cla i ied. A be e insigh
in o such ela ionships is aluable o a wide ange o domains, including psychological
esea ch on emo ional and aes he ical exp ession o he ield o human–compu e in e ac ion
(Pan ic, Pen land, Nijhol , & Huang, 2007).
In a con ex ha combines psychological, aes he ic, and human–compu e in e ac ion
esea ch, s udies ocusing on emo ion and space o en e e o bounda y condi ions, ex eme
si ua ions (e.g., ligh space), o phobias (e.g., claus ophobia; see Palinkas, 2001). To add ess
he space–emo ion ela ionship, we p esen a case s udy o a dance cho eog aphy ha was
pe o med by p o essional dance s con eying a ious exp essi e emo ional in en s. This
expe imen al me hod d ew upon p e ious wo k by Camu i, Lage lö , and Volpe (2003).
Wha cha ac e izes hese pe o mances, and dis inguishes he no el y o ou con ibu ion, is
ha he space made a ailable o each dance co esponded o hei pe ipe sonal space. This
pe ipe sonal space has been app oxima ed by he kinesphe e in dance heo y as he
en i onmen al sphe e su ounding he body whose pe iphe y can be easily eached by
ex ending a limb (Laban & Law ence, 1947; Su il, 2013). We a e in e es ed in unde s anding
how ex e nal obse e s can disc imina e he exp essed emo ions based on he exp essi e
beha io o he dance wi hin he bounda ies o his/he pe ipe sonal space. Ou con ibu ion
in eg a ed he Laban mo emen analysis (LMA) ca ego ies, used o desc ibe quali a i e
mo emen , o i he decoding p ocess unde lying such obse e s’ emo ional ca ego iza ions.
We also we e in e es ed in e alua ing o he ac o s’ impac on he emo ion ecogni ion
p ocess: (a) he obse e s’ expe ise (e.g., does being a ained dance augmen sensi i i y o
emo ion exp ession?), (b) he pe o mance exp essi e in ensi y (e.g., a e emo ions be e
ecognized when exp essed in an empha ic manne ?), and (c) he po en ial ole o body pa s
Glowinski, Coll, Ba on, Sanchez, Schae laeken, & G andjean
34
in emo ion ecogni ion (e.g., a e he e speci ic ela ionships be ween exp essed emo ions and
body pa s?). This pape is o ganized in he ollowing manne . We i s e iew he exis ing
app oaches in he li e a u e ha a emp o ecognize emo ions h ough body pos u es and
mo emen s wi h a speci ic ocus on dance as a es case. Nex , we p esen he de eloped
expe imen al amewo k, which includes he s eps dedica ed o he eco ding and p esen a ion
o he s imuli and de ails ela ed o he s a is ical analysis me hods applied o he pa icipan s’
answe s. This is ollowed by he p esen a ion o ou esul s: how emo ions a e ecognized and
how hey can be desc ibed in e ms o he LMA ca ego ies. In he Discussion sec ion, we
examine he impac o he pa icipan s’ expe ise, he in ensi y o he s imuli, and he
ela ionship be ween speci ic emo ions and iden i ied body pa s. Finally, we conclude his
pape by add essing u u e esea ch di ec ions.
Body as a Sou ce o Emo ional Exp essi i y
The body is a key sou ce o in o ma ion o emo ion ecogni ion. An inc easing end in
esea ch ela es o acial and ocal exp ession, ges u e, and dynamic body mo ion ecogni ion
(e.g., Glowinski e al., 2011). The ecen de elopmen o low-cos digi al image eco ding
equipmen , oge he wi h he ad en o p o essional mo ion-cap u e echnologies, has enabled
a close analysis o non e bal modali ies in human communica ion o emo ions and, in
pa icula , bodily beha io (Wallbo , 1998). Recen ly, a ec i e compu ing, along wi h he
wide ange o ela ed applica ion a eas, has led he way o mee an inc easing demand o he
c ea ion o na u al, in elligen , adap i e, and pe sonalized mul imodal en i onmen s
(Vincia elli e al., 2012).
Un il he u n o he 21s cen u y, a ious coding sys ems we e p oposed by psychologis s.
The main ocus has been on emo ional acial exp ession due in pa o he pionee ing wo k o
Ekman, who o e ed a sys ema ic accoun o acili a ing explici coding and ca ego iza ion
(FACS; Ekman & F iesen, 1978). A ealm o new s anda ds is eme ging in his domain,
opening oppo uni ies o comme cial applica ions o au oma ic emo ion ecogni ion.
Fu he mo e, al e na i e app oaches ha e been de eloped mo e in ecen decades. Resea ch
esul s in psychology sugges , in pa icula , ha body mo emen s do cons i u e a signi ican
sou ce o a ec i e in o ma ion (Wallbo , 1998). Fo example, body ges u e, as a complemen
o acial exp essions, can help disambigua e emo ional in o ma ion (de Gelde , 2006; Todo o ,
Ba on, & Oos e ho , 2008). Ye , he as numbe and combina ion o body pos u es and
ges u es o e s a highe deg ee o eedom o exp essions ha can be di icul o easily manage
du ing analysis. No s anda d body-mo emen coding scheme equi alen o he FACS o acial
exp essions exis s o acili a e decomposing bodily exp ession in o elemen a y componen s.
Va ious sys ems ha e been sugges ed by psychologis s (e.g., Bobick, 1997; Dael, Goudbeek, &
Sche e , 2013) bu none has eached he consensus achie ed by he Ekman’s sys em (Ekman &
F iesen, 1978) o acial exp ession analysis.
Al e na i e app oaches ha e been de eloped o ill his need. Fo ins ance, esea ch on uppe
body exp essi i y ook ad an age o he clea concep ualiza ion o sign language (e.g., Gunes &
Picca di, 2009). The wo ld’s many sign languages, now being ex ensi ely documen ed, ha e
become a esou ce o emo ion ecogni ion. In sign language, signs made wi h he hands wo k in
complex coo dina ion wi h signs made wi h he ace, head mo emen s, o so shi s, gaze,
ges u es, and mime ic mo es. As uppe -body mo emen s also co espond o wha can be
Body, Space, and Emo ion: A Pe cep ual S udy
35
cap u ed easily h ough a Webcam in he ypical wo king en i onmen (i.e., whe e people si
in on o hei desk op compu e ), he ecogni ion o such mo emen s has s imula ed a
ealm o applica ions in his domain. Ye , wi h he ad en o wea able compu ing, ha is,
de ices wo n on he body gi ing he po en ial o digi al in e ac ion, pa icula a en ion is
now being de o ed o speci ic limb exp essi i y (e.g., a ms, inge s; see Velloso, Bulling, &
Gelle sen, 2013). In his con ex , he lack o sys ema ic coding has been success ully
compensa ed o h ough a p omising al e na i e app oach de eloped by Ca amiaux (2014).
Ca amiaux, Mon ecchio, Tanaka and Be ilacqua (2014) in es iga ed and demons a ed how
he a iabili y o he body beha io i sel can s and as a cen al cue o cap u ing exp essi i y.
Howe e , o he han he seminal wo k by Pollick, Pa e son, B ude lin, and San o d (2001) on
mo ion o knocking, e y ew expe imen s ha e in es iga ed emo ional communica ion
h ough speci ic limb a ia ions. The key issue in ecogni ion o a ec i e bodily exp ession
is o conside he le el o in o ma ion ha de e mines he quali y o mo emen . The iew he
body as a whole ep esen s a comple e sou ce o a ec i e in o ma ion is now ecei ing
inc eased a en ion in he scien i ic li e a u e. The ecen in e es in o ull-body emo ion
exp essi i y can be ela ed o he di usion o ad anced mo ion cap u e sys ems (e.g., Vicon)
and especially o he la ge dissemina ion o RGB-dep h came as (e.g., Kinec ) ha allow o
an a o dable and ela i ely ine- uned acking o an indi idual’s body mo emen .
Exis ing s udies on ull-body mo emen ha e used coa se-g ained pos u e ea u es (e.g.,
leaning o wa d o slumping back) o low-le el physical ea u es o mo emen s (i.e.,
kinema ics, see, o example, Bianchi-Be houze, Cai ns, Cox, Jenne , & Kim, 2006). O he
app oaches ha e exploi ed he dynamics o ges u es, e e ing o psychological s udies
epo ing ha empo al dynamics play an impo an ole in in e p e ing emo ional displays
(e.g., Kapu , Kapu , Vi ji-Babul, Tzane akis, & D iessen, 2005).
Towa ds a Uni ied App oach
One may no e he dispa i y be ween he di e en app oaches and, as poin ed ou ea lie , he
lack o b oade and sys ema ic iew o add ess emo ion ecogni ion based on ull-body
exp essi i y. A ew a emp s ha e d awn inspi a ion om dance no a ion and heo ies
(Camu i e al., 2003; Laban & Ullmann, 1971). The key issue is o conside he le el o
in o ma ion ha de e mines he quali y o mo emen , ha is o say he gene al cha ac e is ics
abou he way a mo emen is pe o med (e.g., he e o dimensions o LMA desc ibed
below). This le el o in o ma ion may lie be ween he low-le el ea u es (e.g., posi ion o and
de i a i es in a limb’s ajec o y ha epo a me e displacemen and in o m abou a speci ic
ges u e o mo ion ac i i y) and a high le el o in o ma ion ela ed o he emo ional ca ego ies
ha people may use o in e emo ional a i udes h ough obse a ion (Glowinski e al., 2011).
In his con ex , Laban’s (1947) concep ualiza ion has p o ed use ul in modeling wha could
be an in e media e le el o in o ma ion ep esen ing quali a i e p ope ies o mo emen
whe e exp essi i y is embedded and con eyed. Emo ion ecogni ion may ul ima ely ely on
he speci ic combina ion o hese quali a i e p ope ies o mo emen (Glowinski e al., 2011).
Since he pionee ing wo k led by Zhang e al. (2006), an inc easing numbe o compu a ional
implemen a ions ha e been sugges ed bu much mo e needs o be done on he pe cep ual
side. Thus, ou s udy aims o ackle his aspec by ocusing on he pe cep ion o emo ions
Glowinski, Coll, Ba on, Sanchez, Schae laeken, & G andjean
36
exp essed h ough ull-body mo emen in a es ic ed en i onmen (i.e., he pe o me ’s
pe ipe sonal space).
Ou speci ic goal is o p o ide a sys ema ic accoun o he decoding p ocess unde lying
such bodily emo ion ecogni ion and obse e he espec i e impac o he obse e ’s
expe ise, he in ensi y o he pe o mance exp essi i y, and ole o body pa s in his p ocess.
In pa icula , we a e in e es ed in unde s anding whe he an in e media e le el o emo ional
in o ma ion disce nmen ela ed o he pe cep ion o mo emen quali ies based on he LMA
concep ual amewo k (Laban & Ullmann, 1971) could help in ying he low and high le els
o emo ional in o ma ion. We expec his s udy will shed ligh on o which le el o
in o ma ion may be decisi e in esea che s’ unde s anding o he pe cep ual p ocesses
unde lying emo ion classi ica ion.
The esea ch app oach o he exp ession o emo ion employed in his s udy elies on he
lens model ini ially de eloped by B unswik (1956), adap ed o he pe o ming a s by Juslin
and Laukka (2003), and ecen ly e iewed by Glowinski e al. (2014; see Figu e 1).
Acco ding o his model, he analysis o emo ion exp ession mus ake in o accoun bo h he
sende ’s (e.g., he pe o me ) and he ecei e ’s (e.g., he obse e ) pe spec i es. Two ypes
o p ocesses a e hus conside ed: emo ion exp ession/communica ion h ough body beha io
(e.g., he p oximal cues exhibi ed by a pe o me ) and emo ion ecogni ion (e.g., he obse e
in e ences based on he beha io al cues o ha pe o me ).
Figu e 1.
An illus a ion o he e isi ed lens model (B unswik, 1956) in eg a ing he e o
dimensions (i.e., ac o s and elemen s) o Laban mo emen analysis (Laban & Law ence, 1947). This
concep ual amewo k includes bo h he poin o iew o he sende (e.g., he dance ) and o he ecei e
(e.g., spec a o ). The espec i e encoding and decoding p ocesses o emo ion exp ession h ough body
componen s can be analyzed in a sys ema ic way. In pa icula , he a ibu ion o a speci ic emo ion
ca ego y du ing he ecogni ion phase o he mo emen can be ela ed o he way a spec a o combines
bodily, e o -based, ea u es o he dance ’s pe o mance.

Body, Space, and Emo ion: A Pe cep ual S udy
37
Pe cep ual E alua ion in Te ms o Mo emen Quali ies
An analysis in e ms o mo emen quali ies helps iden i y he di e ences be ween he pe spec i e
o he pe son exp essing he mo emen (i.e., he sende ) and ha o he pe son obse ing he
same mo emen (i.e., he ecei e ). Acco ding o Laban (as ci ed by Su il, 2013), mo emen can
be expe ienced in ui i ely as a con inuum, an indi isible lux o changes. Al e na i ely,
mo emen can be a ionalized as a se ies o snapsho s ha can be o de ed, s uc u ed, and
o malized as he building blocks o a ep esen a ion (Glowinski, Camu i, Chio i, Mazza ino, &
Volpe, 2007). This concep ual amewo k acili a es in es iga ing and unde s anding he implici
o explici s a egies an obse e applies in manipula ing he collec ed snapsho s o mo emen in
building up a comple e, sensi i e, and ye subjec i e ep esen a ion o he (pe o me ’s) sequence.
Suppo ed by a p o ound dualis ic app oach, Laban’s key mo emen concep s come in pai s o
opposi es (Laban & Law ence, 1947). The heo y o e o s de eloped by Laban aims a
cha ac e izing such dynamism in ela ion o ou basic p ope ies (e o ac o s): weigh , space,
ime, and low (Laban & Law ence, 1947). Each o hese ac o s is in u n di ided in o opposed
subca ego ies known as e o elemen s (hea y–ligh , di ec –indi ec , quick–slow, and ee–
bound). These e o elemen s allow esea che s o unde s and he undamen al quali a i e
di e ences in human mo emen . As s a ed by Su il (2013, p. 5), “The di e ence be ween
punching someone in ange and eaching o a glass is sligh in e ms o body o ganiza ion—bo h
ely on ex ension o he a m and he same spa ial di ec ion o he mo emen . The weigh o he
mo emen and he in ensi y o he mo emen a e e y di e en , hough.”
In his s udy, he Laban elemen s (Laban & Law ence, 1947) a e ope a ionalized ia
measu able desc ip ions, desc ibed as ollows:
1. The weigh elemen conside s he indi idual's mo emen s in ela ionship o g a i y
and may desc ibe i s igo ousness. The wo subca ego ies associa ed a e hea y
(i.e., powe ul) and ligh (i.e., delica e).
2. The space elemen he e conside s he indi idual’s mo emen s ela ed o his/he
pe ipe sonal space. The wo subca ego ies associa ed a e di ec and indi ec .
Indi ec mo ion is in e up ed and oundabou , and di ec mo ion p oceeds along a
mos ly s aigh line wi hou de ia ion.
3. The ime elemen is a measu e o mo emen ac i i y speed. The wo associa ed
subca ego ies a e quick (i.e., sudden and u gen ) and slow (i.e., sus ained,
con inuous, and ime s e ching).
4. The low elemen cha ac e izes he con inui y o he mo emen . The wo associa ed
subca ego ies wi h his elemen a e ee (i.e., a luid and eleased mo emen ) and
bound (i.e., a con olled o con ained mo emen ).
Emo ion Ca ego ies, Pe ipe sonal Space, and Laban’s E o Dimensions
Based on he quali a i e app oach o mo emen exp essi i y, ecen compu a ional s udies ha e
in es iga ed how emo ion could be ende ed by in eg a ing he e o dimensions (i.e., ac o s
and elemen s) o Laban mo emen analysis (Laban & Law ence, 1947). Ini ially, he objec i e
in his domain was no o access pe cep ual p ocesses only bu also o c ea e complemen a y
s a egies o o ganize and classi y la ge da abases on mo ion ha included mo e sub le aspec s
Glowinski, Coll, Ba on, Sanchez, Schae laeken, & G andjean
38
o exp essions ela ing o emo ion. A i s a emp by Wakayama, Okajima, Takano, and Okada
(2010), hen Okajima, Wakayama, and Okada (2012), showed ha mo ion e ie al can bene i
om he use o a subse o LMA dimensions, especially when sea ching o da a (indica ions,
ins ances) on body mo emen in la ge esea ch da abases (Kapadia, Chiang, Thomas, Badle ,
& Kide , 2013). Recen ly, A is idou, Cha alambous, and Ch ysan hou (2015) inspec ed he
simila i ies among a ious emo ional s a es classi ied acco ding o he a ousal and alence o
Russell’s (1980) ci cumplex model and a subse o ea u es ha encode s ylis ic cha ac e is ics
o mo ion based on he LMA. O e all, p e ious expe imen al esul s, based on ideo
p ocessing o body limbs’ ajec o y dynamics, show ha hese ea u es can be ex ac ed using
he LMA dimensions and hus allow esea che s o encode body pos u e di e ences depic ing
emo ion exp ession. The pe inence o Laban’s (Laban & Ullman, 1971) dimensions as
desc ip o s o mo ion exp essi i y can be a es ed u he by hei use in a a a anima ion.
Since he seminal wo k o Chi, Cos a, Zhao, and Badle (2000), a ious s udies ha e
demons a ed ha LMA-de i ed dimensions can be exploi ed e icien ly in mo ion
pa ame e iza ion and exp ession (Zhao & Badle , 2005).
Un o una ely, ew s udies ha e conside ed he applica ion o Laban-based analysis in
unde s anding pe cep ual p ocesses du ing emo ion ecogni ion. Le y and Duke (2003) used
LMA dimensions o sco e he capaci y o nonp o essional dance s o imp o ise sequences o
exp essi e mo emen . Co ela ion analyses in emo ion ecogni ion e ealed ela ionships
among he emo ional s a es o dep ession and anxie y and ce ain mo emen quali ies.
Focusing on he speci ic case o walking, C ane and G oss (2013) explici ly ins uc ed
pa icipan s o use LMA-based analysis o classi y he obse ed nuances o emo ions.
Sadness, ange , con emp , and joy we e decoded wi h accu acy ha anged om 74% o
32 %, espec i ely; o mos o he a ge ed emo ions, decoding accu acy was ela ed o he
ou e o ac o s (Se ino, Annella, & A enan i, 2009).
Pe ipe sonal Space, Kinesphe e, and Emo ions
Pe ipe sonal space has been de ined in con as o gene al space in a way simila o how
space is de ined in geome y o opology (Se ino e al., 2009). In dance heo y, his
pe ipe sonal space has been app oxima ed u he by a kinesphe e, which e e s o he space
occupied by an ou eaching body wi hou i mo ing om one spa ial loca ion (Laban, 1966).
Speci ically, i can be ep esen ed as an a ea wi hin each o he body’s ex ended limbs
which, when p ojec ed in all di ec ions om he body’s cen e , can be concei ed as a o ali y
o mo emen o a sphe e o mo emen (Su il, 2013). The e o e, he kinesphe e gi es an
ope a ionalized way o analyze pe ipe sonal space (see Figu e 2) and how each indi idual
migh explo e he su ounding en i onmen o exp ess emo ion and, in u n, how such
pe ipe sonal space may ecip ocally impac on emo ional exp ession.
Dance as a Tes Case
Dance appea s as an ideal es case o s udy emo ion in ela ion o mo emen exp essi i y. I
condenses wi hin a minimal amoun o space and ime he human capaci y o exp ess emo ional
in o ma ion. Aes he ically, i is possible o c ea e a minimally exp essi e dance o a dance ha
Body, Space, and Emo ion: A Pe cep ual S udy
39
Figu e 2.
Illus a ion o he pe ipe sonal space as ope a ionalized by he concep o kinesphe e
(Laban, 1966). The igu e on he igh ep esen s he mo ion cap u e o he dance ’s mo emen (on he le )
ha was used in he pe cep ual expe imen p esen ed in his pape .
un olds slowly. Typically, dance p o ides no unc ional o u ili a ian use o he space (i.e.,
ela ed o a p ac ical ask achie emen , such as opening a doo o yping on a keyboa d), bu
a he o exp ess onesel . In con empo a y Wes e n dance a , howe e , he aes he ics ha e
u ned in o qui e e e yday ac i i ies; he e o e objec s and space may be in e ela ed in e y
unc ional ways. Dance as a es case allows he expe imen e o obse e mo emen o an
unde e mined wide ange o complexi y ha can a y acco ding o he le el o he dance ’s
expe ise (e.g., om beginne o accomplished dance ) as well as acco ding o he
cho eog aphy. Speci ic o ou esea ch in e es , dance also can e eal excep ional and
e ol ed ways o exploi ing he su ounding space. By ocusing on he exp ession o emo ion,
h ough mo emen in a limi ed space o cons ained en i onmen , we sough o obse e how
a dance aces his challenge: Speci ically, we we e in e es ed in how he dance could
ans o m a sou ce o wha could appea o mos people as a s ess o di icul y in o a posi i e
expe ience. The e o e, we expe imen ally de ined a limi ing condi ion whe e he pe o me
was bounded by a cho eog aphy ha limi ed he a ie y o possible mo emen s wi hin a
u he , es ic ed en i onmen ha cons ained he dance ’s displacemen wi hin his/he
pe sonal space. As a consequence, we expec ed ha his challenging si ua ion could impac
he pe o me ’s c ea i e capaci y in exp essing emo ion h ough he only dance componen
ha emained eely a ailable: body exp essi i y. We explo ed his issue by assessing how
ex e nal obse e s pe cei ed such emo ional body exp ession.
Laban Mo emen Analysis and Dance
The LMA is widely used in dance, ei he o anno a e and gene a e cho eog aphy o o ain
dance s. Wi h he ad en o new sys ems o mo ion cap u e, dance s ha e shown an
inc eased in e es in using hese new o ms o in e ac ion o map in eal- ime hei exp essi e
body mo emen s o audio o isual eedback. The LMA dimensions ha e esu aced as a
sou ce o inspi a ion in cap u ing key exp essi e a ia ions in dance pe o mance and o
imp o ing he “na u alness” du ing in e ac ion wi h au oma ic sys ems (Mancas, Glowinski,
Volpe, Cole a, & Camu i, 2010). D awing upon Laban’s app oach, Camu i e al. (2003),
Glowinski, Coll, Ba on, Sanchez, Schae laeken, & G andjean
40
and Van Dyck, Vans eenkis e, Lenoi , Lesa e, and Leman (2014) de eloped a quali a i e
app oach o human ull-body mo emen o emo ion ecogni ion. In his s udy, LMA
dimensions we e app oxima ed h ough a combina ion o low-le el physical ea u es o allow
o a coa se desc ip ion o an encoding p ocess o emo ion h ough body beha io s (e.g.,
emo ion a ousal e ealed by accele a ion peaks). Based on a mo e explici compu a ional
modeling o E o -Shape ea u es, Alaoui, Ca amiaux, Se ano, and Be ilacqua (2012)
de eloped an in e ac i e augmen ed dance pe o mance ha ex ac s mo emen quali ies
(ene gy, kick, jump/d op, e icali y/heigh and s illness) o gene a e a isual simula ion.
Howe e , hese p e ious wo ks o e looked he expe iences ha can be gained h ough
pe cep ual s udies based on he LMA. Fo dance examples, i is use ul o conside he key
concep ual dis inc i eness embodied in his a o m. Dance can be conside ed a speci ic case
o s ylized body mo emen s in which he en i e y o mo emen encodes a pa icula emo ion.
S ylized mo ions usually o igina e in labo a o y se ings, whe e subjec s a e asked o eely
ac on an emo ion wi hou any cons ain s. Ano he key dis inc ion may e e o he
p oposi ional and nonp oposi ional aspec s o mo emen (Boone & Cunningham, 1998).
Raising one’s hand o indica e s op, o example, may be conside ed a p oposi ional
mo emen ha cons i u es es ablished signs o ansmi sha ed meaning. As s a ed in Camu i
e al. (2003), emo ions can be exp essed h ough p oposi ional mo emen (e.g. a clenched is
o show ange o aised a ms o demons a e joy), whe eas nonp oposi ional mo emen s a e
embodied no in disc e e, easily segmen ed mo ions bu a he h ough a sub le combina ion o
mo emen quali ies (e.g., ligh ness o hea iness). F om he poin o iew o a pe cei e , his
dis inc ion could be in e p e ed as a shi in a en ional ocus, whe he on he con igu a ional
aspec s (e.g., ges u e as an explici , well-delimi ed code) o he dynamic i sel (i.e., how one
exp esses emo ional in en ). In his s udy, we ocused on he nonp oposi ional s yle o
mo emen s as ep esen ed by dance sequences.
In ou esea ch, we conside ed how ex e nal obse e s combine body mo emen based
on he LMA o ecognize he emo ional in en o con empo a y dance s du ing hei
pe o mance. Speci ically, we ocused on assessing he signi icance o he ime, weigh ,
space, and low ac o s ea u ed in emo ion ecogni ion by ex e nal obse e s.
METHODS
Pa icipan s
Dance s
Two emale (D1 and D2) and wo male (D3 and D4) p o essional con empo a y dance s we e
ec ui ed o his s udy. Thei a e age age was 28 yea s, and hey we e emune a ed 100 CHF
o hei pa icipa ion. All pa icipan s p o ided signed in o med consen p io o s udy
pa icipa ion. The p o ocol o his s udy was app o ed by he Uni e si y o Gene a,
Swi ze land, a he Facul y o Psychology and Educa ional Sciences. Dance s we e asked o
wea igh clo hes, hei hai was ied up, and all jewel y and accesso ies we e emo ed o
he eco dings.
Body, Space, and Emo ion: A Pe cep ual S udy
47
Figu e 8. Plo o he in e ac ion be ween he emo ion exp essed by he dance s and he obse e s’ pe cei ed
in ensi y o he dances in he ea scale. Ve ical ba s deno e a 95% con idence in e al.
Figu e 9. His og am ep esen ing di e ences in Laban’s c i e ia e alua ion (speed, weigh , ex ension and
low) be ween each exp essed emo ion (ange , happiness, neu al, ea , su p ise and sadness; N = 48).
Ve ical ba s deno e a 95% con idence in e al.
Time Fac o
As shown by he compa isons, ange was a ed as signi ican ly quicke , ep esen ing sudden
and u gen mo emen , χ2(1, N = 48) = 99.65, p < .001, han he o he emo ions. Mo eo e ,
ea and su p ise we e a ed as signi ican ly quicke , χ2(1, N = 48) = 127.29, p < .001, han
he happy, neu al, and sad exp essions. Neu al and sad exp essions we e a ed signi ican ly
Laban’s ac o s
lowspaceweigh
ime
E alua ion o Laban’s ac o s

Glowinski, Coll, Ba on, Sanchez, Schae laeken, & G andjean
48
slowe han happiness, χ2(1, N = 48) = 24.92, p < .001. Howe e , no signi ican di e ence
was obse ed be ween neu al and sad exp essions, χ2(1, N = 48) = 1.03, p = .31, o be ween
ea ul and su p ise exp essions, χ2(1, N = 48) = 0.86, p = .36.
Weigh Fac o
Happiness was a ed as signi ican ly ligh e han he o he emo ions, χ2(1, N = 48) = 4.56, p
< .05. Con e sely, sadness was a ed as signi ican ly mo e ancho ed and hea ie han he
o he emo ions, χ2(1, N = 48) = 19.50, p < .001. No signi ican di e ence was obse ed
be ween ange and neu al, χ2(1, N = 48) = 0.32, p = .57, o ange and su p ise, χ2(1, N = 48)
= 0.59, p = .44) exp essions. Howe e , ange was ecognized as signi ican ly mo e ancho ed
han ea , χ2(1, N = 48) = 5.66, p < .05. No signi ican di e ence was ob ained be ween he
exp essions o neu al and ea , χ2(1, N = 48) = 1.99, p = .16, neu al and su p ise, χ2(1, N =
48) = 0.002, p = .96, o ea and su p ise, χ2(1, N = 48) = 2.71, p = .10.
Space Fac o
Sadness was a ed as signi ican ly mo e indi ec han he o he emo ions, χ2(1, N = 48) =
70.25, p < .001. Ange and happiness we e a ed as signi ican ly mo e di ec han neu al,
ea , o su p ise exp essions, χ2(1, N = 48) = 19.99, p < .001. Be ween hese wo g oups,
happiness was a ed as signi ican ly mo e di ec han ange , χ2(1, N = 48) = 8.58, p < .01,
and neu al was conside ed signi ican ly mo e indi ec han he ea o su p ise exp essions,
χ2(1, N = 48) = 7.45, p < .01. Howe e , no signi ican di e ence was obse ed be ween ea
and su p ise, χ2(1, N = 48) = 0.99, p = .32.
Flow Fac o
Happiness was a ed as signi ican ly mo e luid, ha is, e e ing o a ee, elaxed, and
uncon olled mo emen , han he o he emo ions, χ2(1, N = 48) = 36, p < .001. By con as ,
su p ise and sadness we e he wo emo ions ecognized as he mos bounded, χ2(1, N = 48) =
26.22, p < .001. No signi ican di e ence was obse ed be ween hem, χ2(1, N = 48) = 0.74, p =
.39. Mo eo e , ange was a ed no di e en ly han he neu al o ea exp essions, χ2(1, N = 48) =
0.34, p = .56 and χ2(1, N = 48) = 0.78, p = .38, espec i ely, which we e also no signi ican ly
di e en , χ2(1, N = 48) = 0.03, p = .86.
Rela ionships Among Exp essed Emo ions and Body Pa s
Emo ion showed a signi ican main e ec on he dependen a iables: he head, χ2(5, N = 48)
= 71.23, p < .001; a ms, χ2(5, N = 48) = 12.23, p < .05; shoulde s, χ2(5, N = 48) = 11.23, p <
.05; and pel is, χ2(5, N = 48) = 12.01, p < .05. Howe e , no signi ican di e ence was
obse ed in he legs a iable, χ2(5, N = 48) = 6.42, p = .27.
Fo sake o cla i y, we de eloped a isualiza ion p ocedu e o illus a e how each pe cei ed
emo ion could be sys ema ically ela ed o a speci ic body a ea. Based on he analysis o he
con as s, we indi idua ed h ee le els o g ay-scale in ensi ies (ligh g ey, da k g ey, and
black) o designa e he le el o explici a en ion he obse e s no ed ega ding he head,
Body, Space, and Emo ion: A Pe cep ual S udy
49
shoulde s, a ms, pel is, and legs wi h espec o he emo ion exp essed (see Figu e 10). Black
indica es he highes signi ican co ela ion be ween an emo ion and he obse ed body pa ; a
ligh g ay code indica es he lowes one. The o he body pa s, o which co ela ion was nei he
he highes no he lowes , we e colo ed in da k g ay. We epo in he ollowing he esul s o
he con as analyses. The obse e s no ed he head as he ocus du ing dances in ol ing ea in
compa ison o neu al condi ion: χ2(1, N = 48) = 20.21, p < .001); shoulde s (sadness in
compa ison o su p ise: χ2(1, N = 48) = 7.37, p < .01); a ms (ange in compa ison o ea : χ2(1,
N = 48) = 9.47, p < .01); pel is (happiness in compa ison o ea : χ2(1, N = 48) = 8.49, p <
.01); legs (ange in compa ison o sadness: χ2(1, N = 48) = 3.61, p = .06).
Figu e 10. Deg ee o epo ed obse e s’ a en ion o he di e en body a eas depending on emo ions
exp essed by he dance s. Neu al and Su p ise did no appea o ha e a clea consensus ega ding which
body pa mos obse e s obse ed. Ra he , he obse e s had esponses ac oss mul iple body a eas.
Glowinski, Coll, Ba on, Sanchez, Schae laeken, & G andjean
50
DISCUSSION
In ag eemen wi h he li e a u e (Camu i e al., 2003; C ane & G oss, 2013; Shikanai,
Sawada, & Ishii, 2013), ou esul s show ha he emo ions o happiness, ange , and sadness
a e ypically iden i ied co ec ly by he obse e s. O he h ee, sadness is ecognized mos
o en, ollowed by happiness. This pa ially ep oduces he esul s o he s udies by Camu i
e al. (2003) and Di ich, T oscianko, Lea, and Mo gan (1996), in which he highes
ecogni ion a e was ob ained o sadness, ollowed by ange and joy. Fo he neu al
pe o mance, in which no emo ion was exp essed, obse e s also p edominan ly pe cei ed i
co ec ly. Howe e , when he dance s exp essed ea o su p ise, hese wo emo ions we e no
eadily dis inguished. This pe cep ual con usion inds suppo om wo p io s udies. In he
seminal s udy by Ekman and F iesen (1974) on emo ional acial exp essions and in he s udy
o a ull-body beha io in a daily li e scena io by Meije (1989), exp essions o su p ise
ended o be ecognized as ea . In ou s udy, he pe cei ed exp essions o ea and su p ise
sha ed mos o he Laban ac o s: ime, space, and weigh . Fo he Laban elemen s associa ed
wi h ime, o example, speed changes we e seen as pa icula ly as o hese wo emo ions
and o he weigh ac o , he pe o mance was pe cei ed as mode a ely ancho ed o he
g ound and ligh and delica e.
Con a y o ou expec a ions based on ea lie s udies (e.g., Bläsing e al., 2012;
B ough on & Da idson, 2014; C oss, Ki sch, Ticini, & Schü z-Bosbach, 2011), he expe ise
o he obse e s had li le in luence on he emo ion ecogni ion in his s udy. O e all, ou
esul s sugges ha he a ec i e componen s o body exp ession a e less d i en by expe ise
in dance; we saw b oadly consis en esponses ac oss obse e s, in line wi h an Paasschen,
Bacci, & Melche (2015). Howe e , he use o a poin -ligh display based on MoCap
eco dings could ha e diminished he impac o expe ise. This ype o minimalis ic display
ansmi s a su icien amoun o ges u al in o ma ion o emo ion ecogni ion when deployed
in a es ic ed en i onmen , and pe haps e en hose wi hou dance expe ience we e able o
ecognize he emo ional exp essions om hese images. I is possible ha addi ional physical
e idence (e.g., acial exp ession and skin ex u e) may ha e allowed o one’s dance expe ise
o become mo e appa en .
These indings also could be explained by he ac ha he c i e ion chosen o classi y
ou g oup (i.e., no ice, expe , and nonexpe ) was no su icien enough o di e en ia e he
le els o expe ise. Ou c i e ion o expe ise was based on he s anda d le els o aining
pe iod (8 yea s o egula p ac ice) ha Swiss dance ins i u ions sugges o hei mos
mo i a ed s uden s who a e p epa ing o a p o essional ca ee . Among he 22 expe s who
pa icipa ed in ou s udy, only ou we e dancing p o essionally. In u u e s udies, we plan o
include a la ge numbe o expe s, speci ically p o essional dance s, o es whe he
senso imo o expe ise o aes he ic amilia i y may impac emo ion ecogni ion in he speci ic
con ex o his s udy (see also Bläsing e al., 2012).
Resul s con i med ha emo ions exp essed in he high in ensi y condi ion (i.e., wi h a highe
emphasis and demons a i e manne ) du ing pe o mances a e be e ecognized han in he low
emo ional in ensi y, whe e emo ion would be mo e sub le y exp essed (Bu ge , Saa ikallio, Luck,
Thompson, & Toi iainen, 2013). Ou esul s show a s a is ically signi ican and a ma ginal
di e ence, espec i ely, o ea and su p ise in ha he emo ion ecogni ion was highe in he
low in ensi y condi ion. Howe e , ange , joy, and sadness we e pe cei ed in a simila way o
Body, Space, and Emo ion: A Pe cep ual S udy
51
bo h in ensi ies. This esul goes agains ou expec a ions based on he li e a u e and he esul s
ob ained by Hill and Pollick (2000). These au ho s showed ha a pa icula inc ease in he
exp essi e in ensi y o mo emen s p oduced a be e ecogni ion o joy and ange . In hei s udy,
howe e , he di e ences be ween he exp essi e condi ions we e achie ed h ough o line
manipula ion o he eco ded poin -ligh display used o ende he dance s’ pe o mances.
Mo e no ewo hy is ha ea was ecognized by he obse e s as a mo e in ense con eyed
mo emen in ou con ex o in es iga ing he body ges u es and mo emen s. One can a gue
ha , in eal-li e condi ions, he expe ience o ea migh be ela ed o educed mo ion in body
pa s in o de o be less de ec able by dange ous animals o conspeci ics in a h ea ening
si ua ion. Such ea - ela ed body mo emen migh ha e been in eg a ed as an in e nal
ep esen a ion o ea by dance s and spec a o s, explaining ou esul s.
Resul s showed ha Laban’s e o dimensions can in o m on an in e media e le el o
pe cep ual p ocessing unde lying he emo ion ecogni ion. They e ealed ha he mo emen
quali ies can be disc imina ed in a s a is ically signi ican way and be signi ican ly associa ed
wi h emo ion po ayals, hus highligh ing hei exp essi e pe inence. Conside ing he ime
ac o , he ange , ea , and su p ise emo ions we e posi i ely ela ed o quicke elemen
a ings in compa ison o he sad and neu al condi ions. This is in line wi h he esul s in he
scien i ic li e a u e (Camu i e al., 2003; C ane & G oss, 2013; Meije , 1989). As p e ious
esea ch has shown, ea and su p ise canno be dis inguished based on he ime ac o alone.
Conce ning he weigh ac o , pe o mances exp essing joy u ned ou o be ligh e and
delica e whe eas hose exp essing sadness we e seen as i me and ancho ed o he g ound.
Howe e , his single c i e ion may no be su icien o disc imina e be ween su p ise, ange ,
and ea . Fo he space ac o , he mo emen unde lying he joy and ange emo ions was
conside ed as mo e di ec han hose o sadness, con i ming ecen s udies on his speci ic
issue (C ane & G oss, 2013; Shikanai e al., 2013). This ac o alone, howe e , did no allow
o any dis inc ion be ween ea and sadness. Finally, he low ac o was posi i ely a ed in
he happiness emo ion, displaying he LMA elemen s o elaxed, ee, and uncon olled
mo emen , whe eas su p ise and sadness seemed o include bound, ense, and con olled
ypes o mo emen .
These esul s eplica e he indings in Camu i e al. (2003). In addi ion, ou esul s show
ha he su p ise and ea emo ions, which p io sea ch has ound a e ypically con used by
obse e s, could be dis inguished on he low ac o : The mo emen ela ed o ea was a ed
as mo e uncon olled han ha o su p ise (see also Wallbo , 1998). These indings, in
o ali y, a e consis en wi h C ane and G oss’s obse a ions ha emo ions displayed by
dance s a ec mo emen s yle in dis inc i e ways ha could be desc ibed consis en ly wi h a
speci ic combina ion o he e o dimensions (C ane & G oss, 2013).
An o iginal inding o his s udy conce ns he how a ious body pa s a ac he a en ion
o obse e s acco ding o which emo ions hey pe cei e exp essed by he dance s. I ex ends
and con i ms an o iginal app oach de eloped by Nummenmaa, Gle ean, Ha i, and Hie anen
(2014) o obse e how emo ions may be p e e en ially ela ed o speci ic body pa s. Ou
esul s conce ning he uppe body pa s (i.e., head, shoulde s, a ms) and he pel is—and he
absence o any signi ican e ec conce ning he legs—a e con i med pa ially by Sawada,
Suda, & Ishii (2003) and by empi ical obse a ion om ea ly con empo a y dance. In his
pe iod, exp essions and mo emen s we e con ined essen ially o he uppe body, pa icula ly
he ches . Legs we e less used. In he mid-20 h cen u y, cho eog aphe Ted Shawn s a ed,
Glowinski, Coll, Ba on, Sanchez, Schae laeken, & G andjean
52
“The o so mus become he mos sensi i e and exp essi e pa o he body” (Shawn, 1963, p.
63). Ou esul s, howe e , show ha he head a ac ed mo e obse e s’ a en ion when
wa ching dance pe o mances exp essing happiness, ange , o no emo ion ( he neu al
condi ion) han ea , su p ise, o sadness. A ms we e p ima ily obse ed du ing pe o mances
exp essing ange ; dances exp essing sadness a ac ed less a en ion o he a ms. Conce ning he
shoulde s, he happy, sad, and neu al condi ions a ac ed he pa icipan s’ a en ion o his a ea
o he body, whe eas pe o mances exp essing su p ise did signi ican ly less. Finally, he pel is
was conside ed he mos salien when wa ching happy and neu al pe o mances and he leas
when sad dances we e p esen ed. Ou esul s p o ide a u he de ailed insigh on how
di e en ia ed emo ion ecogni ion is associa ed wi h speci ic body pa s.
The use o pe ipe sonal space (Clé y, Guipponi, Wa dak, & Ben Hamed, 2015; Se ino e
al., 2009) as an en i onmen al es ic ion o cons ain dance s’ exp essi e mo emen also is a
unique componen o his s udy. I allowed us o e alua e whe he exp essed mo ion wi hin a
limi ed en i onmen could s ill be ecognized by obse e s.
Ou indings showed ha ang y, ea ul, happy, su p ised, and sad emo ions can s ill be
well disc imina ed in cons ained mo emen . In addi ion, ou indings highligh ha no only
space- ela ed ea u es bu also complemen a y mo emen quali ies (e.g., low, weigh , and
ime) cha ac e ize he decoding p ocess o emo ion exp ession in a sys ema ic manne wi hin
his speci ic con ex (see also Ta ou & Viaud-Delmon, 2014). To be e unde s and how
emo ion ecogni ion may a y in ela ion o a space ep esen a ion, a u u e expe imen al
p o ocol could include sys ema ic manipula ion o he space ende ing du ing he s imuli
p esen a ion. The same poin -ligh displays could be p esen ed in a i ual en i onmen ha
di e s in e ms o space ex ension (e.g., ei he s ic ly ma ching an indi idual’s pe ipe sonal
space o placing a dance ’s ende ed mo emen wi hin a la ge neu al space). On he o he
hand, hese esul s e eal he dance ’s po en ial o exploi ing his/he pe ipe sonal space o
emo ion exp ession. Acco ding o Clé y e al. (2015), no only is he ype o ac ion pe o med
in he ep esen a ion o pe ipe sonal space key, bu also he emo ional consequences o he
ac ions can dynamically modi y i . A compu a ional analysis o he Laban e o dimensions
may help cla i y he encoding p ocesses o emo ion h ough exp essi e body beha io . O
speci ic in e es will be he ela ionship among he exp essed emo ions, he explo a ion o he
con ined space, and he quali a i e ea u es o mo emen . An expe imen al manipula ion also
could conside he dance pe o mance wi hin a wide a ie y o en i onmen s (e.g., es ic ed
o pe ipe sonal space o o a la ge space, such as a hea e s age). Finally, his s udy e eals
he po en ial o using dance as es case o in es iga ing emo ion exp ession and pe ipe sonal
space ep esen a ion.
CONCLUSIONS
As no el digi al en i onmen s inc ease he deg ee o eedom in mo emen exp ession,
ongoing esea ch would bene i om a concep ual amewo k and se o me hodological
p ocedu es o conside he implici e ec s o he space ac o on emo ion exp essi i y and
pe cep ion. Using dance as a es case and a cho eog aphed pe o mance wi h a a ie y o
emo ional a ia ions, we sys ema ically conside ed he decoding p ocesses unde lying a
spec a o ’s iden i ica ion o he emo ion exp essed wi hin he pe o me ’s pe ipe sonal space.

Body, Space, and Emo ion: A Pe cep ual S udy
53
Wi hin he in eg a ed concep ual appa a us o he lens model and he LMA, we con ibu e by
o e ing a be e insigh in o he quali a i e ea u es o body exp ession on which ex e nal
obse e s may ely. We u he e eal commonali ies in pe cep ual s a egies de eloped by
dance expe s and nonexpe s.
This s udy se s he agenda o u u e de elopmen s in he h i ing and quickly e ol ing
ield o mo ion analysis and on non e bal communica ion in echnologically media ed
en i onmen s. Fu u e wo k includes (a) ex ending and eplica ing wi h a g ea e numbe o
pa icipan s he co ela ions obse ed so a , and (b) es ablishing ela ionships wi hin he
encoding p ocess (i.e., hose implemen ed by he dance s h ough hei body beha io ). The
compu a ional modeling o LMA ea u es may be exploi ed in his pe spec i e.
IMPLICATIONS FOR THEORY OR APPLICATION
Ou s udy is ad ancing he echnological b eak h ough in he analysis o ull-body
exp essi i y bu also acknowledges he embodied u n owa d cogni ion esea ch, con i ming
he p ominen ole o emo ion and embodimen as essen ial componen s o cogni i e
p ocesses. We used dance as a es case and bound he dance ’s mo emen s o his/he
pe ipe sonal space in o de o be e s udy he c ucial impac o space cons ain s on
emo ional body exp essi i y and obse e s’ pe cep ion o emo ions exp essed wi hin hose
cons ain s. D awing upon he Laban mo emen analysis amewo k seems an e icien
app oach o ecognizing emo ions and e ealed unde lying pe cep ual p ocess. Used in a
B unswik’s (1956) lens model, we belie e hose quali ies ca ego ized along he Laban’s
e o dimensions a e in e media e-le el key componen s in emo ion ecogni ion. This s udy
could help ad ance a new gene a ion o digi al en i onmen s, allowing o na u al and
emo ionally i id in e ac ions. Equally, his line o esea ch could acili a e be e au oma ed
ecogni ion o emo ion om bodily mo emen . In addi ion, i sugges s how dance esea ch
can in luence a wide a ie y o disciplines also in e es ed in explo ing he pe cep ion and
in e p e a ion o emo ional con eyance.
ENDNOTES
1. Mo e in o ma ion on he Nexus so wa e is a ailable a h p://www. icon.com/p oduc s/so wa e/nexus
2. Mo e in o ma ion on he ideo cap u e so wa e used o display he mo ion cap u e ideo
h ps://www. echsmi h.com/cam asia.h ml
3. Mo e in o ma ion on he so wa e used o de elop he online ques ionnai e a h p://www.qual ics.com
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