Inaug.-diss.--Berlin. / "Mit genehmigung der Hohen Fakultät kommt hier nur der erste Teil der ganzen arbeit zum Abdruck. Der Rest erscheint gleichzeitig in der Zeitschrift für Psychologie ..." v. 54:1, p. 401-536. Lebenslauf.

Research on aesthetic perception of dance has been recently generating considerable interest within the field of Psychology of Aesthetics. There are, however, a number of methodological and conceptual gaps in our knowledge such as the application of the method of production, as well as understanding the role of motion smoothness, synchronous movement, and cultural factors in aesthetic perception. The present basic research addresses those gaps through five psychological experiments. In study 1, participants generated static sequences of images according their preference. Smooth continuation of meaningful objects was preferred when considering implied motion. In study 2, participants sorted images into moving sequences that they would like to see. Participants liked movements with smooth motion. In study 3, participants rated different schematic video animations depicting two dancers. Participants preferred smooth movements preformed in synchrony. In study 4, participants rated video animations depicting different types of motion performed by human body or abstract shapes. Participants preferred smooth synchrony. In study 5, British and Japanese participants watched synchronous and asynchronous actual dance video clips, rated the videos according their aesthetic judgement and answered questionnaires about motivations and individualism/collectivism. British participants preferred asynchronous dance while Japanese participants preferred synchronous dance. Studies 1 and 2 applied the method of production for the first time to study aesthetic preference for human movement, studies 1 to 4 support the neurocognitive model of aesthetic appreciation in the performing arts. Study 5 supports our cultural hypothesis: British participants preferred asynchrony (in line with analytical perceptual style, Western focus on individual movements), whereas Japanese participants preferred synchrony (holistic style, Eastern focus on group movement). Convergence between the neurocognitive model and the cultural hypothesis is discussed. The present research opens new lines of research in perception of human movement and performing arts: the method of production, motion smoothness, synchrony, and cross-cultural aesthetics.