Perceptual & Memory Deviations

     toward ‘Regular’ Orientations

Common in Visual, & Kinesthetic Spatial Cognition

1. a Primacy of Dimensional orientations
  over Diagonal orientations

2. a Primacy of regular ‘pure’ 45º Diagonals
  over irregular tilting orientations

well known “Oblique Effect”

Diagonals vs. Dimensionals

  1. higher detection thresholds,
  2. require longer training periods to learn a selective response,
  3. receive slower response,
  4. less accurate duplication,

faster reaction times

slower reaction times

Memory bias toward Dimensionality

eg. DRAW INTERSECTION OF PATHS
(pairs of roads in a well known city) (recalled by drawing or pointing)

ANGLES remembered as more dimensional
(closer to right angles (90º)

actual path

recalled closer to right angles

actual path

Gestalt principal of ‘Pragnaz’
identified in 1920s by Gestalt Psychologists

Perception tends to be:

simple, concise, good, regular, logical, coherent, whole

Dimensions = most ‘regular’

an 85º angle, perceived as ‘impure’ right angle (90º)

‘impure’

‘PURE’

‘impure’

Regularising effect

bias toward most concise, simple, regular
common in Visual & Kinesthetic spatial cognition

> Place a dot where two lines would intersect

dot is placed as if lines are more dimensional

place a dot where two lines would intersect

> Draw a familiar map

mental maps tend towards dimensional alignment


ACTUAL orientation	RECALLED orientation

> Point in Directions with the Arm

Dimensions are recalled best

Tilted directions recalled closer to Dimensions

recalled best

recalled less accurate

positions learned

recall after 24 hrs

in a horizontal plane

in a medial plane

Bias toward ‘pure’ Diagonals
... If Not close to a Dimension, ...

Memory bias towards pure 45º Diagonal

> Recall location of dot in a circle

ERRORS deviate towards nearest Dimension or pure Diagonal

example image

recall location of dot?

example recall deviations

“Subjects spontaneously impose horizontal and vertical boundaries that divide the circle into quadrants. They misplace dots toward a central (prototypic) location in each quadrant” (Huttenlocher, Hedges, & Duncan, 1991).

Perception of motion in visual arts

Perceptual deviations influence visual arts

Simplest example; a CIRCLE in a SQUARE

black circle appears to strive or move
toward the closest dimensional or diagonal axis

CIRCLE may appear to strive or move in a SQUARE

eg. Drawings of Windmills

1. Dimensional alignment - perception of stability

2. Regular Diagonals - some perception of motion

3. Irregular Obliques - greatest induced motion
(appear to strive toward a Dimension or Regular Diagonal)

most perceived stability

some perceived motion

appear to strive

Maps of perceptual striving

Patterns of perceived motion can be mapped

Objects move toward ‘pools of attraction’
at regular, symmetrical divisions of space

“Structural skeleton”
with
“basins of attraction”

Cognitive structure
Perceptual / Memory deviations indicate:

memory schemata

Large number of experiences
perceived & remembered
Small number of regular prototypes (Cognitive Economy)

A possible spatial schema:

regular prototype
&
irregular variations

Perceptual Heuristics

Prototypes serve as reference points or heuristics

(‘rule of thumb’)

perceiving diverse events relative to
a small number of prototypes,
allows quicker perception & reaction time

> Ecologically advantageous
even at the risk of small errors by mis-judging events as more prototypical than Reality

Choreutics prototypes & deflections

> Choreographie (1926) set out in 3D space:

Regular Prototypes Irregular Deflections
3 Dimensions x 8 Diagonals = 24 Inclinations

3 dimensions

24 inclinations

8 diagonals

> Choreutics (1966); detailed intermediary stages:

PROTOTYPICAL
1D Dimensions				1 directional tendency: “basic elements”
3D Diagonals, “pure diagonals”				3 EQUAL directional tendencies
DEFLECTING
2D Diameters, “plane diagonals”
	“Primary deflected diameters”			2 EQUAL directional tendencies “‘deflected’ from the dimensions or the diagonals” oriented at 45° within a cardinal plane.
	“Modified diameters”			2 UN-EQUAL directional tendencies cardinal planes elongate in one dimension, diameters slightly tilt
3D Inclinations, do not lie in a cardinal plane
		“Secondary deflected”	2 EQUAL + 1 UN-EQUAL directional tendencies (1 large + 2 medium) (cube-octahedron)
		“Tertiary deflections” “modified diagonals”	3 UN-EQUAL directional tendencies (1 large, 1 middle, 1 small (icosahedron)

Choreutic Harmony Theory

> Furthest stage of deflection
Inclinations with 3 un-equal directional tendencies,
most “natural” or “harmonious”

Aspects of this Theory, described in many places.

> Dimensions & Diagonals set as spatial contrasts:

The two contrasting fundamentals on which all choreutic harmony is based are the dimensional tension and the diagonal tension. (Laban, 1966, p. 44)

> Affined with dynamics: Stability & Mobility(or lability)

dimensions, seem to have in themselves certain equilibrating qualities . . . a feeling of stability . . .
space diagonals give . . . a feeling of growing disequilibrium, or . . . mobility. (Laban, 1966, p. 90)

> Organic Harmony as ‘mixtures’ of contrasts:

PHILOSOPHICALLY:

Since every movement is a composite of stabilising and mobilising tendencies, and since neither pure stability nor pure mobility exist, it will be the deflected or mixed inclinations which are the more apt to reflect trace-forms of living matter. (Laban, 1966, p. 90)

In these deflected directions stability and lability complement each other in such a way that continuation of movement is possible through the diagonal element whilst the dimensional element retains its stabilising influence. (Ullmann, 1966, p. 145)

ANATOMICALLY:

. . . the deflected directions are those directions which, in contrast to the stable dimensions and to the labile diagonals, are used by the body most naturally and therefore the most frequently. (Ullmann, 1966, p. 145)

Because the body limits the fulfilment of perfect three-dimensional shapes that pure diagonals would offer, most three-dimensional shapes are created through modified diagonals . . . These are available to the body. (Bartenieff & Lewis, 1980, p. 33)

Prototypes in Labanotation

Regular Dimensions & 45º Diagonals prioritised
represented with single sign

1D dimensions

2D planar diagonals
(45°)

3D diagonals
(45°)

Deflections in Labanotation

Irregular Inclinations, represented more obscurely

represented with multiple signs, half-way, third-way directions

Examples of inclinations
(Vertical deflections of Diagonal leftwards-forwards-downwards)

Deflections in Inclination signs
early signs in Choreographie (1926)

Deflecting between 2 contrasting prototypes: Dimension x Diagonal

Diagonals:

right-
fore-up

left-
back-down

left-
fore-up

right-
back-down

left-
back-up

right-
fore-down

right-
back-up

left-
fore-down

Dimensions

vertical

lateral

sagittal

Inclinations

READING THE SIGNS: shape = dimension (vertical, lateral, or sagittal)
orientation = the diagonal,
the ‘dot’ = up or down on that line

Inclination signs in choreutics

Returned to in Choreutics ([1939]1966) as

free space lines & free inclinations

Diagonal signs & Dimensional letter = free inclination

and
“notation capable of doing this is an old dream in this field of research”.

Spatial cognition & choreutics

choreutic concept of deflections
is given validity
by similar structures in spatial cognition studies

both show contrast between:

Prototypes
Ideal forms
Concepts
Abstract

Deflections
Actual forms
Reality
Physical

Topology in motor control

- Variation in motor performance is the rule
every movement is at least a bit different

Anatomical sources for variability
Intensity & balance of forces exerted, joint viscosity, limb inertia, interaction torques across joints, fatigue,...

a circle

variability

> Control of variability with engram & parameters

Movements bend, stretch, and change on every performance,
‘essential form’ remains

Theorised: Control:

abstract topological form
general attributes; closed / open, crossing, order, number

motor engram or image
memory representation

variable parameters
sizing, rotation, speed, body use

changes in performance
stretching, bending the form

topological forms in continuous fluctuation:

"co-ordinational net of the motor field ...
as oscillating like a cobweb in the wind" (Bernstein, 1984, p. 109)

Topology in choreutics
Motor net -- choreutic “scaffolding”
conceived in both ways:

(idealised prototype)
Fixed structure around the body
specific sizes and proportion
Platonic forms

(deflections)
“Living Architecture”
changing location, size, proportions
flexible tension nets

> Topological forms deflect across kinespheric nets

Topological form
triangle
3-ring

deflects across
polyhedral nets

Octahedron 3-ring

Icosahedron 3-ring

> Transformation of ‘scales’

Principal scale: hexagonal “defence sequence” in many deflections

Hexagonal
defence scale
deflects
to
inclinations

(icosahedral scaffolding)

“For
example:

often shows
the following
form:

which is a
deflected variation
of the natural
defense-scale”
(Laban, 1966, p. 42)

(1st half
of A-scale)

> transformation of ‘scales’

Twelve-sided
topological form

Dimensional

octahedral
peripheral
12-ring

deflecting into

Inclinations

A-scale
icosahedral
transverse
12-ring

“transformation of one-dimensional directions into three-dimensional inclinations” (Ullmann, 1955, 1971)

Cardinal
Planar cycles
- Frontal plane
- Horizontal plane
- Medial plane

deflecting
into
inclinations

just one example

Cycles can continue
to deflect.....

FRONTAL
planar
cycle

deflecting
steep &
(suspended)

HORIZONTAL
planar
cycle

deflecting
flat
(& steep)

MEDIAL
planar
cycle

deflecting
suspended
(& flat)

and....
“there is no end to this process” of deflecting since
“the number of possible inclinations is infinite” (Laban, 1966, p. 17)

Body control in coordinative structures
Space trajectories must be coordinated in the body

> Mass-spring model of motor control:
limbs as masses
muscles as springs

> Creates oscillatory system,
pendulums

alternating stretch - recoil
automatically responds to unexpected perturbations

Biceps as
spring
with mass
of forearm

> Spring-like behaviour over muscle collectives
“Functional groupings” of muscles are “integrated” into larger “collectives”
“coordinative structures”, “kinematic chains”

Entire collectives act as an integrated spring-system
- coordinated like interacting pendulums
- collectively respond to unexpected displacements
- oscillate toward intended trajectories

spring-like behaviour
of muscle collectives

“basins of attraction”
in an
“elastic force field”

Choreutic control in the body

Laban analysis Body approach
“kinetic muscular chains”, being “connected”

Rather than body-parts in isolation
Can bring spatial control to center-of-gravity of kinetic chains

Not fixed in the body; moving, can be in the air

Center-of-gravity
located in the air

eg. high-jump

center-of-gravity passes
under the bar

physical body passes
over

> Center-of-gravity organises individual parts

individual parts organise as a collective
according to the path of the center

“Floating illusion”

legs and arms coordinate

to lower the
center-of-gravity

while torso &, head
remain high

> Center-of-gravity of local system

Center not only for whole-body
also ‘center’ of any coordinated system
ie. local kinematic chains, for Arm or Leg, or Body Half, etc.

center-of-gravity moves inside & outside of the physical body

Passing the
center-of-gravity
of the arm
behind the back

eg. A-scale volute hr-bd-lf

Inclination signs lend themselves especially to this mode of control
not fixed at specific spatial points
taken as motion of center-of-gravity of kinematic chain
represent motions of shaping
in a zone linking between body and space

Summary

1. Prototypes & variations identified in perception & memory studies give validity for a similar system of choreutic deflections.

2. Deflecting Inclinations are essential for concepts of ‘harmony’ in Choreutics

3. Notation signs from Choreographie (1926) make concept of inclinations more explicit

4. Center-of-gravity of kinematic chains can bring Spatial Control into the body

5. Inclination signs are not tied to external grids and so lend themselves to this type of control in a kind of mid-way shaping zone, bridging between body and space

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Diagonals:		right- fore-up	left- back-down	left- fore-up	right- back-down	left- back-up	right- fore-down	right- back-up	left- fore-down
Dimensions
vertical

lateral
sagittal
	Inclinations