Perception of Human Motion

TL;DR: The Dissertation of the Dissertation as discussed by the authors is an example of such a paper, and it can be found here: http://www.dissertation-of-the- Dissertation.

TL;DR: Time experiences in dance are structured through the dynamics of dancers’ bodies, rhythmic and musical cues, temporal coordination, and memory-based processes.

TL;DR: In this article , a study aimed to assess dancers and non-dancers' aesthetic evaluation of three different prototypical movements performed on five prototypical stage setups and found that the movement contract-release and the stage setup V were generally evaluated as most aesthetic.

TL;DR: A reinforcement learning model, which allows for an agent to interact with a simulated 3D learning environment under the initial guidance of an all knowing oracle, is proposed and it is hypothesized that the ability to recognize an action may in fact be a byproduct of learning how to perform an action.

TL;DR: A summary of the layout of cortical areas associated with vision and with other modalities, a computerized database for storing and representing large amounts of information on connectivity patterns, and the application of these data to the analysis of hierarchical organization of the cerebral cortex are reported on.

TL;DR: The data allow us to reject alternative accounts of the function of the fusiform face area (area “FF”) that appeal to visual attention, subordinate-level classification, or general processing of any animate or human forms, demonstrating that this region is selectively involved in the perception of faces.

TL;DR: A neurophysiological mechanism appears to play a fundamental role in both action understanding and imitation, and those properties specific to the human mirror-neuron system that might explain the human capacity to learn by imitation are stressed.

Abstract: Acknowledgments List of Illustrations Figures Plates Preface to the Anniversary Edition by Paul Ekman Preface to the Third Edition by Paul Ekman Preface to the Second Edition by Francis Darwin Introduction to the Third Edition by Paul Ekman The Expression of the Emotions in Man and Animals Introduction to the First Edition 1. General Principles of Expression 2. General Principles of Expression -- continued 3. General Principles of Expression -- continued 4. Means of Expression in Animals 5. Special Expressions of Animals 6. Special Expressions of Man: Suffering and Weeping 7. Low Spirits, Anxiety, Grief, Dejection, Despair 8. Joy, High Spirits, Love, Tender Feelings, Devotion 9. Reflection - Meditation - Ill-temper - Sulkiness - Determination 10. Hatred and Anger 11. Disdain - Contempt - Disgust - Guilt - Pride, Etc. - Helplessness - Patience - Affirmation and Negation 12. Surprise - Astonishment - Fear - Horror 13. Self-attention - Shame - Shyness - Modesty: Blushing 14. Concluding Remarks and Summary Afterword, by Paul Ekman APPENDIX I: Charles Darwin's Obituary, by T. H. Huxley APPENDIX II: Changes to the Text, by Paul Ekman APPENDIX III: Photography and The Expression of the Emotions, by Phillip Prodger APPENDIX IV: A Note on the Orientation of the Plates, by Phillip Prodger and Paul Ekman APPENDIX V: Concordance of Illustrations, by Phillip Prodger APPENDIX VI: List of Head Words from the Index to the First Edition NOTES NOTES TO THE COMMENTARIES INDEX