6,353
edits
Gait: Difference between revisions
Jump to navigation
Jump to search
m
no edit summary
mNo edit summary |
mNo edit summary |
||
| Line 16: | Line 16: | ||
Moreover, correlational analyses between these ratings revealed consistent associations across traits; for example, perceived “good” intentions were associated with higher ratings of attractiveness and dominance. The second experiment results revealed distinct body motions that were readily associated with the perception of either “good” or “bad” intentions. Moreover, regression analyses revealed that these ratings accurately predicted the perception of the portrayed character type. These findings indicate that intentions and social traits are communicated effectively via specific sets of body motion features.<ref>https://dl.acm.org/doi/10.1145/2791293</ref> | Moreover, correlational analyses between these ratings revealed consistent associations across traits; for example, perceived “good” intentions were associated with higher ratings of attractiveness and dominance. The second experiment results revealed distinct body motions that were readily associated with the perception of either “good” or “bad” intentions. Moreover, regression analyses revealed that these ratings accurately predicted the perception of the portrayed character type. These findings indicate that intentions and social traits are communicated effectively via specific sets of body motion features.<ref>https://dl.acm.org/doi/10.1145/2791293</ref> | ||
==Dancing== | |||
Studies on physical strength and dance attractiveness show a positive relationship between men’s handgrip strength and dance attractiveness. Stronger men that display larger, more variable and faster arm movements are rated as better dancers. Also, handgrip strength is positively correlated with [[reproductive success]].<ref>https://onlinelibrary.wiley.com/doi/abs/10.1002/ajhb.22703</ref><ref>https://www.frontiersin.org/articles/10.3389/fpsyg.2018.00439/full?utm_source=F-NTF&utm_medium=EMLX&utm_campaign=PRD_FEOPS_20170000_ARTICLE</ref> | |||
A study found strong, strong positive associations between symmetry and dancing ability, and these associations were stronger in men than in women. In addition, women rate dances by symmetrical men relatively more positively than do men, and more-symmetrical men value symmetry in women dancers more than do less-symmetrical men.<ref>https://www.nature.com/articles/nature04344</ref> | |||
*Women are most attracted to male dancers who have a thrill and adventure-seeking, disinhibited, boredom susceptible personality.<ref>https://www.sciencedirect.com/science/article/abs/pii/S0191886911002224</ref> | |||
*High-masculine dancers were judged as more attractive by women around ovulation than on other cycle days, whilst no such perceptual difference was found for low-masculine dancers.<ref>https://journals.sagepub.com/doi/full/10.1177/147470491301100503</ref> | |||
A study was also performed in order to determine what freestyle (non-choreographed) male dance moves are actually attractive to women. By using cutting-edge motion-capture technology, the researchers found that the more varied and vigorous a man’s movements in the central body regions (head, neck, and torso), as well as the higher speed of right knee movements, the more attractive the women rated the man’s dancing, with 80% of the variance in attractiveness related to only these factors. In layman’s terms, headbanging and head thrusting and stretching the neck back and forth in a rhymic fashion is attractive to women. Puffing out the chest and then back in and then back out is attractive to women (basically twerking but with the chest); flexing the abdominal muscles rhythmically in a wave-like motion is attractive to women. Moving the shoulders back and forth (to move the upper torso) is attractive to women, and thrusting with the pelvis is attractive to women (to move the lower torso). Rhythmically bending the right knee in accordance with the beat is attractive to women. Also, a faster, more energetic song, will lead to a more attractive male dancer due to the movement being more vigorous.<ref>https://royalsocietypublishing.org/doi/full/10.1098/rsbl.2010.0619</ref> | |||
==See also== | ==See also== | ||
| Line 35: | Line 46: | ||
{{Lookism}} | {{Lookism}} | ||
{{B}} | {{B}} | ||
<!--==Fighting== | <!--==Fighting== | ||