Psychoactive drugs have been central to many human group rituals throughout modern human evolution. Despite such experiences often being inherently social, bonding and associated prosocial behaviors have rarely been empirically tested as an outcome. Here we investigate a novel measure of the mechanisms that generate altered states of consciousness during group rituals, the 4Ds: dance, drums, sleep deprivation, and drugs. We conducted a retrospective online survey examining experiences at a highly ritualized cultural phenomenon where drug use is relatively uninhibited- raves and illegal free parties. Engaging in the 4Ds at raves or free parties was associated with personal transformation for those who experienced the event as awe-inspiring, especially for people with open personalities (n = 481). Without awe, or a ritual context, indulging in the 4Ds was associated with a lack of personal growth, or anomie. A complex SEM revealed that personal transformation following awe-inspiring raves was associated with bonding to other ravers and prosocial behavior toward this group at a cost to self in a simple economic game. Bonding to humanity was not associated with these events. The findings suggest that employing the 4Ds in a ritualized environment - particularly dancing and drug use - can help build meaningful social bonds with associated positive behavioral outcomes.

/pdf/i-get-high-with-a-little-help-from-my-friends-how-raves-can-35ei6g8mx2.pdf

'I Get High With a Little Help From My Friends' - How Raves Can Invoke Identity Fusion and Lasting Co-operation via Transformative Experiences.

Previous literature has shown that music preferences (and thus preferred musical features) differ depending on the listening context and reasons for listening (RL). Yet, to our knowledge no research has investigated how features of music that people dance or move to relate to particular RL. Consequently, in two online surveys, participants (N = 173) were asked to name songs they move to (“dance music”). Additionally, participants (N = 105) from Survey 1 provided RL for their selected songs. To investigate relationships between the two, we first extracted audio features from dance music using the Spotify API and compared those features with a baseline dataset that is considered to represent music in general. Analyses revealed that, compared to the baseline, the dance music dataset had significantly higher levels of energy, danceability, valence, and loudness, and lower speechiness, instrumentalness and acousticness. Second, to identify potential subgroups of dance music, a cluster analysis was performed on its Spotify audio features. Results of this cluster analysis suggested five subgroups of dance music with varying combinations of Spotify audio features: “fast-lyrical”, “sad-instrumental”, “soft-acoustic”, “sad-energy”, and “happy-energy”. Third, a factor analysis revealed three main RL categories: “achieving self-awareness”, “regulation of arousal and mood”, and “expression of social relatedness”. Finally, we identified variations in people’s RL ratings for each subgroup of dance music. This suggests that certain characteristics of dance music are more suitable for listeners’ particular RL, which shape their music preferences. Importantly, the highest-rated RL items for dance music belonged to the “regulation of mood and arousal” category. This might be interpreted as the main function of dance music. We hope that future research will elaborate on connections between musical qualities of dance music and particular music listening functions.

/pdf/music-we-move-to-spotify-audio-features-and-reasons-for-1rd4832a.pdf

Music we move to: Spotify audio features and reasons for listening

Universality, domain-specificity and development of psychological responses to music

A number of theories about the origins of musicality have incorporated biological and social perspectives. Darwin argued that musicality evolved by sexual selection, functioning as a courtship display in reproductive partner choice. Darwin did not regard musicality as a sexually dimorphic trait, paralleling evidence that both sexes produce and enjoy music. A novel research strand examines the effect of musicality on sexual attraction by acknowledging the importance of facial attractiveness. We previously demonstrated that music varying in emotional content increases the perceived attractiveness and dating desirability of opposite-sex faces only in females, compared to a silent control condition. Here, we built upon this approach by presenting the person depicted (target) as the performer of the music (prime), thus establishing a direct link. We hypothesized that musical priming would increase sexual attraction, with high-arousing music inducing the largest effect. Musical primes (25 s, piano solo music) varied in arousal and pleasantness, and targets were photos of other-sex faces of average attractiveness and with neutral expressions (2 s). Participants were 35 females and 23 males (heterosexual psychology students, single, and no hormonal contraception use) matched for musical background, mood, and liking for the music used in the experiment. After musical priming, females’ ratings of attractiveness and dating desirability increased significantly. In males, only dating desirability was significantly increased by musical priming. No specific effects of music-induced pleasantness and arousal were observed. Our results, together with other recent empirical evidence, corroborate the sexual selection hypothesis for the evolution of human musicality.

/pdf/darwins-sexual-selection-hypothesis-revisited-musicality-2205pfts.pdf

Darwin’s sexual selection hypothesis revisited: Musicality increases sexual attraction in both sexes

Music-driven choreography is a challenging problem with a wide variety of industrial applications. Recently, many methods have been proposed to synthesize dance motions from music for a single dancer. However, generating dance motion for a group remains an open problem. In this paper, we present $\rm AIOZ-GDANCE$, a new large-scale dataset for music-driven group dance generation. Unlike existing datasets that only support single dance, our new dataset contains group dance videos, hence supporting the study of group choreography. We propose a semi-autonomous labeling method with humans in the loop to obtain the 3D ground truth for our dataset. The proposed dataset consists of 16.7 hours of paired music and 3D motion from in-the-wild videos, covering 7 dance styles and 16 music genres. We show that naively applying single dance generation technique to creating group dance motion may lead to unsatisfactory results, such as inconsistent movements and collisions between dancers. Based on our new dataset, we propose a new method that takes an input music sequence and a set of 3D positions of dancers to efficiently produce multiple group-coherent choreographies. We propose new evaluation metrics for measuring group dance quality and perform intensive experiments to demonstrate the effectiveness of our method. Our project facilitates future research on group dance generation and is available at: https://aioz-ai.github.io/AIOZ-GDANCE/

https://export.arxiv.org/pdf/2303.12337v2.pdf

Music-Driven Group Choreography

Evolution and functions of human dance

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's "Sons of Sissy," we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research.

/pdf/dance-is-more-than-meets-the-eye-how-can-dance-performance-171w9wytuh.pdf

Dance Is More Than Meets the Eye-How Can Dance Performance Be Made Accessible for a Non-sighted Audience?

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Evolution and functions of human dance

Dance Is More Than Meets the Eye-How Can Dance Performance Be Made Accessible for a Non-sighted Audience?