Statistical analysis of timing errors.

Human rhythmic activities are variable. Cycle-to-cycle fluctuations form the behavioral observable. Traditional analysis focuses on statistical measures such as mean and variance. In this article we show that, by treating the fluctuations as a time series, one can apply techniques such as power spectra and rescaled range analysis to gain insight into the mechanisms underlying the remarkable abilities of humans to perform a variety of rhythmic movements, from maintaining memorized temporal patterns to anticipating and timing their movements to predictable sensory stimuli.     

Origins of timing errors in human sensorimotor coordination

The authors analyzed fluctuations in timing errors when 8 human participants attempted to coordinate movement with external rhythmic signals. The temporal dynamics of the errors is usually described in terms of simple, self-correcting models. Here the authors demonstrate that timing errors are characterized by a 1/f(alpha) type of long memory process. The value of the exponent alpha differentiates different types of coordination states: synchronization and syncopation. More interesting, evidence was found that alpha can be changed when participants use different coordination strategies. Together with the authors' understanding of the generation mechanism for long memory processes, these results suggest that 1/f(alpha) type of long-range correlated timing errors are of higher cortical origin and are likely the outcome of distributed neural processes acting on multiple time scales.     

Micromanaging time: Measuring and controlling timing errors in computer-controlled experiments

Computer-controlled experiments present a number of potential sources of error in timing the presentation of events, including video refresh rate, keyboard scanning rate, and disk I/O times. A terminate-and-stay-resident routine implementing multiple millisecond-accuracy timers is presented. Interfaces permitting use of the timer with several higher level languages (C, FORTRAN , Pascal, and QuickBASIC) are described, as is a design for a two- to four-button response system using the computer’s printer port. A general strategy is described for using multiple timers to control and measure variation in critical experimental events. A C language program is provided to benchmark variation in the time required to perform common experimental tasks (screen refreshing, switching video pages, disk I/O, loop calculations), and results are summarized for several representative computers that use the IBM design.     

Creativity and personality in professional dancers

In this study three different groups of professional dancers (ballet, modern/contemporary and jazz/musical), which considerably vary with respect to the creativity-related demands involved in the respective dancing style, are compared with respect to psychometrically determined creativity, general mental ability and different facets of personality. Results indicate that modern/contemporary dancers, who are often required to freely improvise on stage, exhibited relatively high levels of verbal and figural creativity (as it was measured by means of psychometric creativity tests), followed by jazz/musical and finally by ballet dancers. With respect to personality, modern/contemporary dancers can be characterized as being less conscientious, higher on psychoticism and more open to experiences than the remaining experimental groups. In line with relevant research in this field, this study reveals some central personality characteristics of highly creative individuals which may be considered as important ingredients in the acquisition or actualization of exceptional creative potential.     

Body image and self-esteem in adolescent ballet dancers.

Body-image disturbances and low self-esteem have been implicated in the pathogenesis of eating disorders. This study investigated self-perception of body and personality among adolescent ballet dancers in a cross-sectional survey. Two questionnaires assessing "my body right now" and "my personality right now," using semantic differentials were completed by 90 ballet school students and 156 controls. Adolescent female dancers (ages 13 to 17 years) scored higher than age-matched controls and 11- to 12-yr. old peers on Undesirability and Sensitivity for personality and Unattractiveness for body. For both subscales of personality, differences were also found between male and female dancers; female ballet students scored higher. Within the control group a difference could be found only for Sensitivity on which girls scored higher than boys. Male dancers did not differ from controls except for a lower score on the Body mass measure. Adolescent female dancers showed a distinct answering profile for 7 of 16 semantic differentials in each questionnaire implicating less favorable body image and self-esteem. Interventions focused particularly on enhancing self-esteem may be useful in the prevention of psychopathology in adolescent ballet dancers.     

Stereotype accuracy of ballet and modern dancers

The authors recorded preprofessional ballet and modern dancers' perceptions of the personality traits of each type of dancer and self-reports of their own standing, to test the accuracy of the group stereotypes. Participants accurately stereotyped ballet dancers as scoring higher than modern dancers on Fear of Negative Evaluation and Personal Need for Structure and accurately viewed the groups as equal on Fitness Esteem. Participants inaccurately stereotyped ballet dancers as lower on Body Esteem; the groups actually scored the same. Sensitivity correlations across traits indicated that dancers were accurate about the relative magnitudes of trait differences in the two types of dancers. A group of nondancers reported stereotypes that were usually in the right direction although of inaccurate magnitude, and nondancers were sensitive to the relative sizes of group differences across traits.     

Spatial ability in classic dancers and their perceptual style

The relation between spatial ability (body orientation and body awareness) and field dependence/independence was assessed by measuring performance on the Embedded Figures Test and WISC or WAIS Block Design at four different training levels in classical ballet, beginners to advanced, and a control group with no training in ballet, gymnastics, or sports (n = 70). No significant correlation was found between perceptual style or Block Design performance and body orientation or body awareness at any of the four levels of training. No significant differences were observed between the advanced group and the control group. Training in a particular type of spatial skill such as orientation within surrounding space was not related to the skill required to manipulate an abstractly represented space.     

Topless dancers: Managing stigma in a deviant occupation

This paper describes and analyzes how topless dancers manage the stigma related to their deviant occupation. It represents approximately nine months of limited participant observation and ethnographic interviewing at seven topless bars in a major metropolitan city in the Southwest with a population of approximately 1 million people. A structured interview schedule was utilized to obtain data from over 40 topless dancers in six different clubs. In addition, free‐flowing interviews were conducted with at least 20 other dancers, numerous waitresses in the clubs, one club manager, two assistant managers, and four former dancers still associated with the clubs (as bartenders, waitresses, or admission takers). This study indicates that two of the most common stigma management techniques used by topless dancers are dividing the social world as outlined by Goffman (1963) and techniques of neutralization described by Sykes and Matza (1957), especially denial of injury, condemnation of the condemners, and appeal to higher loyalties. Dancers further rationalize their participation in a deviant occupation on the basis that it is harmless, temporary, fun, good exercise, and easy money. Suggestions are made for future research on topless and nude dancing and stigma management.     

Perceiving subjectivity in bodily movement: The case of dancers

This paper is about one of the puzzles of bodily self-consciousness: can an experience be both and at the same time an experience of one′s physicality and of one′s subjectivity? We will answer this question positively by determining a form of experience where the body′s physicality is experienced in a non-reifying manner. We will consider a form of experience of oneself as bodily which is different from both “prenoetic embodiment” and “pre-reflective bodily consciousness” and rather corresponds to a form of reflective access to subjectivity at the bodily level. In particular, we argue that subjectivity is bodily expressed, thereby allowing the experience of the body′s subjectivity directly during perceptual experiences of the body. We use an interweaving of phenomenological explorations and ethnographical methods which allows validating this proposal by considering the experience of body experts (dancers).     

Skill in expert dogs

The motor control of novice participants is often cognitively demanding and susceptible to interference by other tasks. As people develop expertise, their motor control becomes less susceptible to interference from other tasks. Researchers propose a transition in human motor skill from active control to automaticity. This progression may also be the case with nonhuman animals. Differences in performance characteristics between expert, advanced, intermediate, and novice dogs competing in the sport of agility were investigated. There were statistically significant differences between dogs of varying competitive levels in speed, motor control, and signal detections suggestive of increasing motor control automaticity in highly skilled, or expert, dogs. The largest sequential motor control difference was between novice and intermediate dogs, d = .96, whereas the largest sequential signal detection difference was between advanced and expert dogs, d = .90. These findings have two significant implications for expertise researchers: first, the observed similarities between dogs and humans may enable dogs to be used as expert models; and second, expertise science and methods may be profitably employed in the future to create more proficient canine workers.     

Four categories of women who work as topless dancers

Many involved in the feminist debates over sex work have polarized the construction of women in the sex industry as either victims of exploitation, or free agents who choose this work. This study examined the life circumstances of 30 women who worked as toplesS dancers to determine, how, if at all, the polarized debates reflect the realities of the women in this study. Four catagories of women who worked as topless dancers emerged: (1) survivors, (2) workers, (3) non-conformists, and (4) dancers. These categories suggest that there is a continuum of experience with varying degrees of choice, and demonstrate the limitations of dichotomous thinking when it comes to understanding the lived experiences of women in the sex industry.     

Unipodal performance and leg muscle mass in jumping skills among ballet dancers

We examined the vertical jump performance of each leg among 10 right-footed female ballet dancers with 1 yr. of international professional experience (quadrilles: Opera ballerinas). Their mean age was 17.5 yr. (SD=0.3). The maximal height of the unilateral jump was recorded, and muscle mass was evaluated by biphotonic absorptiometry method. Muscle mass and maximal jump height were similar for the two legs. A strong inverse relation was found between the muscle mass of the right leg (67%) and maximal jump height (r=-.81, p<.01) but not for the left leg. These results highlight a functional asymmetry and the effect of motor laterality in dance.     

明代的乐舞生与《大明御制玄教乐章》

明代,在封建社会趋向衰落和道教式微的景况下,明皇室为借助道教为其政治服务,仍积极倡导和促使道教科仪的规范和道乐的实践活动.本文通过对明代神乐观与乐舞生特有音乐机制,以及<大明御制玄教乐章>的创制过程及御用功能的探讨,认为明代道教斋醮和道乐的活跃与繁荣,均系明皇室有意作为的结果.     

Tiny dancer: Body image and dancer identity in female modern dancers

Dance has been found to both enhance and undermine body image. Most of the literature has focused on ballet dancers and has neglected the role of identity as a dancer. This study assessed general and dance specific body image and dancer identity in 77 female modern dancers. Compared to samples of non-clinical college women, this sample had higher body appreciation and lower drive for thinness and self-objectification. White dancers in the sample also had positive levels of dancer body efficacy/acceptance whereas as non-White dancers had negative levels of this variable. Identity as a dancer was negatively correlated with body appreciation and dancer body perceptions and not related to the number of years of dance experience. Of general and dance specific body image, body appreciation emerged as the unique predictor. The findings warrant further research on positive body image, modern dancers, and identity.     

Questionnaire of executive function for dancers: an ecological approach

There is a current debate about the ecological validity of executive function (EF) tests. Consistent with the verisimilitude approach, this research proposes the ballet executive scale (BES), a self-rating questionnaire that assimilates idiosyncratic executive behaviors of classical dance community. The BES was administrated to 149 adolescents, students of the Cuban Ballet School. Results present a Cronbach's alpha coefficient of .80 and a split-half Spearman-Brown coefficient r (SB) = .81. An exploratory factor analysis describes a bifactorial pattern of EF dimensions, with a self-regulation component, which explains more than 40% of variance, and a Developmental component, which accounts for more than 20% of variance. The questionnaire's total scores fit linear regression models with two external criteria of academic records, confirming concurrent validity. These findings support the hypothesis that the internalization of specific contextual cultural meanings has a mediating influence in the development of EF.     

Syntactic errors in speech

Speech errors can be used to examine the nature of syntactic processing in speech production. Using such evidence, Fay (1980a, 1980b) maintains that deep structure and transformations are psychologically real. However, an interactive activation model that generates surface syntactic structures directly can account for all the data. Most syntactic errors are substitutions: The target phrase structure is replaced by a semantically related structure. Blends of two syntactic structures are also common. Transformations cannot account for much of the data and are not necessary to explain any of them. While it is impossible to prove that transformations do not exist, syntactic theories that do not include transformations have the potential to be psychologically valid.