Joufflineau Coline, Vincent Coralie, Bachrach Asaf
UMR 8218, Institut ACTE, 75015 Paris, France.
ICI-project, Labex Arts H2H, Université Paris 8, 93526 Saint-Denis, France.
Behav Sci (Basel). 2018 Feb 10;8(2):24. doi: 10.3390/bs8020024.
The co-presence of bodies in intersubjective situations can give rise to processes of kinesthetic empathy and physiological synchronization, especially in the context of dance: the body and attention of the spectators are oriented towards the dancers. In this study, we investigate the processes of "body-mind" resonance between a choreography and its spectators, and more specifically the lasting impact of this resonance post-performance. We then explore the relation between the observed effects and subjective measures of attention. The study focuses on the work of the French choreographer Myriam Gourfink, who develops a unique movement, based on the slower breathing of dancers: the breathing generates an extremely slow movement without rhythmic ruptures. Phenomenological studies of her work report changes in temporal perception and changes in bodily attentional states. We made use of two cognitive tasks in order to quantify this change in temporal perception: Spontaneous Motor Tempo (SMT) and Apparent Motion effect (AM) before and after a 40-min live performance. Subjective reports were collected at the end of the performance. Physiological data were recorded before and after the performance. We performed a control experiment with a choreography of a distinctly different quality of movement. Post-Gourfink performance, we observed a significant deceleration of SMT and a decrease in its variability, while AM was reported with longer temporal intervals. Neither of these effects was observed in the control condition. Furthermore, an increase in perception of AM was correlated with a slower breathing rate after the performance. Correlations with subjective reports suggest a link between changes in cognitive and physiological dynamics and the degree of absorption of the spectators in the performance. In addition, these changes were related to specific reported attentional dispositions that we interpret as a form of attentional resonance. The ensemble of the results suggests an expansion of the "specious present" that is related to the slowing of physiological rhythms, and an attentional resonance between spectators and the choreography. The intricate relation we observed between inter-personal resonance and temporal cognition, foregrounds the notion of shared present as a neurophenomenological construct.
在主体间情境中身体的共同在场会引发动觉共情和生理同步过程，尤其是在舞蹈情境中：观众的身体和注意力会指向舞者。在本研究中，我们调查了一段舞蹈编排与其观众之间的“身心”共鸣过程，更具体地说是这种共鸣在表演后的持久影响。然后，我们探讨了观察到的效果与注意力主观测量之间的关系。该研究聚焦于法国编舞家米里亚姆·古尔芬克的作品，她基于舞者更缓慢的呼吸发展出一种独特的动作：这种呼吸产生一种极其缓慢且没有节奏中断的动作。对她作品的现象学研究报告了时间感知的变化和身体注意力状态的变化。为了量化这种时间感知的变化，我们在一场40分钟的现场表演前后使用了两项认知任务：自发运动节奏（SMT）和表观运动效应（AM）。在表演结束时收集主观报告。在表演前后记录生理数据。我们用一段动作质量明显不同的舞蹈编排进行了对照实验。观看古尔芬克的表演后，我们观察到SMT显著减慢且其变异性降低，而AM报告的时间间隔更长。在对照条件下未观察到这些效应中的任何一个。此外，表演后对AM感知的增加与呼吸频率减慢相关。与主观报告的相关性表明认知和生理动态变化与观众在表演中的投入程度之间存在联系。此外，这些变化与特定报告的注意力倾向有关，我们将其解释为一种注意力共鸣形式。结果的整体表明与生理节奏减慢相关的“似是而非的现在”的扩展，以及观众与舞蹈编排之间的注意力共鸣。我们观察到的人际共鸣与时间认知之间的复杂关系，突出了共享现在作为一种神经现象学结构的概念。
