University of Groningen
An experimental approach to group growth
van Mourik Broekman, Aafke
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Publication date:
2018
Link to publication in University of Groningen/UMCG research database
Citation for published version (APA):
van Mourik Broekman, A. (2018). An experimental approach to group growth: When boundaries between
performers and observers are breached. University of Groningen.
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Supplementary material
183 SUPPLEMENT AR Y M A TERIAL .
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Chapter 2
Briefing choreographers – Introduction to the theory
Distinguishing three types of community
1. Communities based on “organic solidarity”
In some communities and groups, every individual contributes their own
distinctive skills, actions and personality. The successful combination of these
individual inputs creates a sense of unity: the feeling that the whole has become
more than the sum of its parts. In these communities, individual contributions
are positively valued.
2. Communities based on “mechanical solidarity”
In some communities and groups, individual members appear to outdo each
other in expressing the group’s norms and culture. Here too, we can find a strong
belief that the group is more than the sum of its parts. But the collective ideas of
what the group is like (or should be like) shape the actions of every individual:
Being a good group member means publicly displaying one’s membership.
3. The absence of a sense of community
There are occasions in which a sense of community is irrelevant or absent.
Whether community members act as individuals or attempt to be collectivistic,
others simply attach no positive or negative value to what they do. Although
social interactions may be superficially maintained, underlying relationships are
treated with indifference.
Examples
One may attempt to find examples of different groups that fall into each
category. There are many. But one may also recognize these characteristics in
the same groups, but at different times.
Many groups “feel” as if they are organic communities, at least some of the
time. In a village community or in a small city, for example, organic solidarity is
strengthened if there is a baker, a butcher, a greengrocer, a pub, etc. But also in
the scientific community, different perspectives and approaches create a more
vibrant research environment.
184 S U P P L E M E N TA R Y MAT E R I A L
At some moments and occasions, these very same groups may “feel” very
differently, and display characteristics of a mechanical community. In the same
village, there may be an annual village party in which all residents wear traditional
clothes, sing the village anthem, or engage in other activities that express the
village culture. In the scientific community, we have graduation ceremonies at
which every graduate wears a gown and celebrates the completion of their
degree in customary fashion. At such occasions, the individual strives to express
what it means to be a good group member—individual identity is pushed to
the margins of our awareness.
Finally the very same communities may sometimes lose their community
feel altogether. The individuals in our hypothetical village and the scientific
community might feel that they are engaged in a struggle for survival (because
of bad harvests or publication pressures) and this might cause people to care
mainly for themselves. Alternatively, some traumatic event (suspected child
abuse or scientific fraud) may severely reduce trust.
Dancing three types of community into existence?
Designing the experimental performance
The purpose of the study is to attempt to evoke these feelings of community in
the audience. The challenge is to do this using only physical expression. In other
words, the object is to communicate different forms of community spirit (or its
absence) through physical movement.
We expect that it will already be a learning experience to see how you create
the performance. We are really interested in your understandings of creating
emotional responses in the audience. We are looking forward to collaborating
with you in this creative phase. But beyond explaining to you what emotional
outcome we hope to achieve, we do not want to steer you or influence the
creative process.
In creating the performance, there are some important boundary conditions.
Maintaining these boundaries is important if we want to show that it is the
physical movement that is responded to by the audience. This means that in
all three choreographies, we will want to be keeping many things the same.
So, if possible, we would like to use the same music, the same amount of active
audience participation, the same physical contact between audience and
185 SUPPLEMENT AR Y M A TERIAL .
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dancers, same lighting and forms of dress. Also, the different choreographies
should be approximately the same duration.
Carrying out the experiment
During the performance, we shall be observing the audience responses to the
choreography. The audience will be filmed throughout, and audio recordings
will be made of the dancers and of the audience. In addition, we shall ask
audience members to fill out brief questionnaires afterwards. And they will
have the opportunity to respond verbally to the performance. Similarly, we ask
the dancers to fill out a brief questionnaire after every performance. Putting all
these different sources of data together, we hope to build a comprehensive
picture of how physical movement shapes social communities.
186 S U P P L E M E N TA R Y MAT E R I A L
187 SUPPLEMENT AR Y M A TERIAL .
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Text flyer Experiment 1
Does art have an effect on how we see the world around us? Can a performance
change perspectives? Why do people come to the theatre? How do physical
movements shape people’s perceptions?
How do we even begin to answer these questions? Experiment A is a scientific
research/performance created to explore the effects of dance and movement.
The project is collaboration between Random Collision and a multidisciplinary
research team from the Rijksuniversiteit Groningen. Together they created a
performance and you are invited to be the observers in this experiment!
Dates: 15 august | 16 august | 17 august
Times: 17:00-17:30 | 18:00-18:30 | 19:00-19:30 | 20:00-20:30
Location: Noorderkerk
Entrance: free, but ticket is required
Tickets via Noorderzon Festival:
www.noorderzon.nl
Researchers RUG
Social Psychology: Tom Postmes, Ernestine Gordijn, Aafke van Mourik
Broekman, Namkje Koudenburg
Artificial Intelligence: Tjeerd Andringa
Random Collision
Director: Kirsten Krans
Choreographers/ dancers: Jasmine Ellis, Ido Batash, Fernando Martins, Matan
Zamir, Anna Asplind
188 S U P P L E M E N TA R Y MAT E R I A L
Questionniare Experiment 1
QAuENG
2/10
faculty of behavioural and social sciences
1. I felt passive, calm, quiet.
1 2 3 4 5 6 7 I felt active, dynamic, cheerful. 2. I felt unpleasant, not at ease,
uncomfortable. 1 2 3 4 5 6 7
I felt pleasant, at ease, comfortable. 3. I felt bored, inattentive,
uninterested. 1 2 3 4 5 6 7
I felt aroused, attentive, interested. 4. I felt chaotic, incoherent,
disharmonious. 1 2 3 4 5 6 7
I felt structured, coherent, harmonious. 5. I felt spontaneous,
thoughtless, free. 1 2 3 4 5 6 7
I felt mindful, conscious, controlled. 6. I felt gentle, small, weak.
1 2 3 4 5 6 7 I felt powerful, big, strong. How did you feel during the performance?
Below you will find three related moods (for example “passive, calm, quiet”) and their opposites (for example “active, cheerful, dynamic”). Think back to the performance. To what extent did your mood tend to be more on one side or the other? Indicate this on a scale from 1 to 7 by circling a number. Please indicate how all three moods together describe your state of mind: keep in mind when one or two moods “fit” less well.
QAuENG
3/10
faculty of behavioural and social sciences
7. The dancers were passive,
calm, quiet. 1 2 3 4 5 6 7
The dancers were active, dynamic, cheerful. 8. The dancers were unpleasant,
not at ease, uncomfortable. 1 2 3 4 5 6 7
The dancers were pleasant, at ease, comfortable. 9. The dancers were bored,
inattentive, uninterested. 1 2 3 4 5 6 7
The dancers were aroused, attentive, interested. 10. The dancers were chaotic,
incoherent, disharmonious. 1 2 3 4 5 6 7
The dancers were structured, coherent, harmonious. 11. The dancers were
spontaneous, thoughtless, free.
1 2 3 4 5 6 7 The dancers were mindful, conscious, controlled.
12. The dancers were gentle,
small, weak. 1 2 3 4 5 6 7
The dancers were powerful, big, strong.
What impression did the dancers as a group make during the performance? Now we want you to fill in the same questions for your impression of the dancers as a group.
189 SUPPLEMENT AR Y M A TERIAL .
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QAuENG 4/10faculty of behavioural and social sciences
Strongly Strongly disagree agree 13. I feel the dancers are a unit.
1 2 3 4 5 6 7 14. I thought there was a sense of togetherness among
the dancers. 1 2 3 4 5 6 7 15. Each dancer fulfilled an important role in the
performance. 1 2 3 4 5 6 7 16. I believe each dancer was indispensable to the
performance. 1 2 3 4 5 6 7 17. The performance would remain the same with one
dancer less. 1 2 3 4 5 6 7 18. During the performance I identified with the dancers.
1 2 3 4 5 6 7 19. During the performance I felt as one with the dancers.
1 2 3 4 5 6 7 20. During the performance I felt connected with the
dancers. 1 2 3 4 5 6 7 21. I felt like an outsider when I watched the performance.
1 2 3 4 5 6 7
22. During the performance I identified with none of the
dancers. 1 2 3 4 5 6 7 23. During the performance there were some dancers I
identified with more than with other dancers. 1 2 3 4 5 6 7 24. During the performance I identified with all dancers
equally. 1 2 3 4 5 6 7 The following statements are about your feelings about the dance group during the performance. Indicate for each statement to what extent you agree with this on a scale from 1 (strongly disagree) to 7 (strongly agree).
QAuENG
5/10
faculty of behavioural and social sciences
Strongly Strongly disagree agree 25. During the performance I identified with the audience.
1 2 3 4 5 6 7 26. During the performance I felt as one with the
audience. 1 2 3 4 5 6 7 27. During the performance I had the feeling that I
belonged to the audience. 1 2 3 4 5 6 7 28. During the performance I felt connected with the
audience. 1 2 3 4 5 6 7 29. During the performance I felt that the audience was a
unit. 1 2 3 4 5 6 7 30. During the performance I experienced a sense of
togetherness in the audience. 1 2 3 4 5 6 7
The following statements are about the audience during the performance. Indicate to what extent you agree with this from 1 (strongly disagree) to 7 (strongly agree).
190 S U P P L E M E N TA R Y MAT E R I A L
QAuENG
6/10
faculty of behavioural and social sciences
Strongly Strongly disagree agree 31. The performance made me think.
1 2 3 4 5 6 7
32. I was absorbed by the performance.
1 2 3 4 5 6 7 33. The dancers’ movements were contagious.
1 2 3 4 5 6 7 34. During the performance I searched for meaning.
1 2 3 4 5 6 7 35. I felt there was a clear meaning in the performance.
1 2 3 4 5 6 7 36. The performance seemed to be interpretable in only
one way. 1 2 3 4 5 6 7 37. I am afraid I did not understand the performance as it
was intended. 1 2 3 4 5 6 7 38. I feel that I could experience the performance in my
own way. 1 2 3 4 5 6 7 39. I believe the performance can be experienced in
different ways. 1 2 3 4 5 6 7 40. I think the performance was directed.
1 2 3 4 5 6 7
41. It seemed as if the dancers were told what to do.
1 2 3 4 5 6 7
42. It seemed as if the dancers spontaneously made their
own decisions. 1 2 3 4 5 6 7
The following statements are about how you experienced the performance.
QAuENG
7/10
faculty of behavioural and social sciences
Strongly Strongly disagree agree 43. It is important that the people in the audience
experienced the performance in the same way. 1 2 3 4 5 6 7 44. I believe that each person in the audience has
experienced the performance in the same way. 1 2 3 4 5 6 7 45. I believe that each person in the audience has
experienced the performance in his/her own way. 1 2 3 4 5 6 7 46. I believe I experienced the performance differently
than the other people in the audience. 1 2 3 4 5 6 7 47. I am afraid that I experienced the performance
differently than the other people in the audience. 1 2 3 4 5 6 7 48. I feel that I can be myself in this audience.
1 2 3 4 5 6 7 Strongly Strongly disagree agree 49. I felt that the audience and the dancers were a unit
during the performance. 1 2 3 4 5 6 7 50. I experienced a sense of togetherness between the
audience and the dancers during the performance. 1 2 3 4 5 6 7 51. I have the feeling that the audience and the dancers
were as one during the performance. 1 2 3 4 5 6 7 The following statements are about how you experienced the performance and the
audience. Indicate to what extent you agree with this from 1 (strongly disagree) to 7
(strongly agree).
191 SUPPLEMENT AR Y M A TERIAL .
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QAuENG 7/10faculty of behavioural and social sciences
Strongly Strongly disagree agree 43. It is important that the people in the audience
experienced the performance in the same way. 1 2 3 4 5 6 7 44. I believe that each person in the audience has
experienced the performance in the same way. 1 2 3 4 5 6 7 45. I believe that each person in the audience has
experienced the performance in his/her own way. 1 2 3 4 5 6 7 46. I believe I experienced the performance differently
than the other people in the audience. 1 2 3 4 5 6 7 47. I am afraid that I experienced the performance
differently than the other people in the audience. 1 2 3 4 5 6 7 48. I feel that I can be myself in this audience.
1 2 3 4 5 6 7 Strongly Strongly disagree agree 49. I felt that the audience and the dancers were a unit
during the performance. 1 2 3 4 5 6 7 50. I experienced a sense of togetherness between the
audience and the dancers during the performance. 1 2 3 4 5 6 7 51. I have the feeling that the audience and the dancers
were as one during the performance. 1 2 3 4 5 6 7 The following statements are about how you experienced the performance and the
audience. Indicate to what extent you agree with this from 1 (strongly disagree) to 7
(strongly agree).
The following statements are about your feelings about the dancers and the audience.
QAuENG
8/10
faculty of behavioural and social sciences
audience dancers
Below you will find seven figures that represent the closeness between the audience and the dancers. Please mark one figure that best describes the closeness between the audience and the dancers during the performance.
audience dancers audience dancers audience dancers audience dancers audience dancers audience dancers
192 S U P P L E M E N TA R Y MAT E R I A L
QAuENG
9/10
faculty of behavioural and social sciences
Strongly Strongly disagree agree 52. Because of this performance my interest in modern
dance increased. 1 2 3 4 5 6 7 53. Because of this performance I am curious about the
other activities of Random Collision. 1 2 3 4 5 6 7 54. I would like to subscribe for the newsletter from
Random Collision so I am informed about future performances and activities.
(tick a box to indicate your answer)
☐ yes, subscribe me: e-mail address:
……… ☐ I am already subscribed. ☐ no thank you.
Never Often 55. How often do you participate in cultural activities
(museums, exhibitions, concerts, theatre, festivals, film, etc.)?
1 2 3 4 5 6 7
56. How often do you visit dance performances?
1 2 3 4 5 6 7 57. How often do you visit modern dance performances?
1 2 3 4 5 6 7 58. Have you even visited a performance from Random
Collision?
(tick a box to indicate your answer)
☐ no
☐ yes, …………. times. Finally, some questions about you.
The following statements and questions are about modern dance and Random
Collision. Answer the questions or indicate to what extent you agree with this from 1
(strongly disagree) to 7 (strongly agree).
QAuENG
10/10
faculty of behavioural and social sciences
59. Did you know any of the dancers from the performance?
(tick a box to indicate your answer)
☐ no (go to question 60) ☐ yes (go to question 59a) 59a. If so, how well do you know this person/ these
persons?
(based on the person you know best)
☐ barely ☐ somewhat ☐ good ☐ very good 60. What is your age?
……… 61. What is your gender?
……… 62. What is your nationality?
……… 63. Do you have any comments you would like to add?
64. What, according to you, is the purpose of this study?
65. Date and time performance: Seat number:
Thank you very much for your participation!
This is the end of the questionnaire. Did you answer all the questions? You can leave this questionnaire underneath your seat. Please remain seated until further instructions.
193 SUPPLEMENT AR Y M A TERIAL .
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QAuENG 10/10faculty of behavioural and social sciences
59. Did you know any of the dancers from the performance?
(tick a box to indicate your answer)
☐ no (go to question 60) ☐ yes (go to question 59a) 59a. If so, how well do you know this person/ these
persons?
(based on the person you know best)
☐ barely ☐ somewhat ☐ good ☐ very good 60. What is your age?
……… 61. What is your gender?
……… 62. What is your nationality?
……… 63. Do you have any comments you would like to add?
64. What, according to you, is the purpose of this study?
65. Date and time performance: Seat number:
Thank you very much for your participation!
This is the end of the questionnaire. Did you answer all the questions? You can leave this questionnaire underneath your seat. Please remain seated until further instructions.
194 S U P P L E M E N TA R Y MAT E R I A L
195 SUPPLEMENT AR Y M A TERIAL .
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196 S U P P L E M E N TA R Y MAT E R I A L
Questionnaire Experiment 2a
1/7 faculty of behavioural and social sciences
Strongly Strongly disagree agree 1. I feel the dance group is a unit.
1 2 3 4 5 6 7 2. I thought there was a sense of togetherness among
the members of the dance group during the performance.
1 2 3 4 5 6 7
3. The dancers had a lot in common during the
performance. 1 2 3 4 5 6 7 4. Each dancer was unique in comparison to the other
dancers during the performance. 1 2 3 4 5 6 7 5. Each dancer fulfilled an important role in the
performance. 1 2 3 4 5 6 7 6. I believe each dancer was irreplaceable in this
performance. 1 2 3 4 5 6 7
The following statements are about the dance group during the performance. Indicate for each statement to what extent you agree with this on a scale from 1 (strongly disagree) to 7 (strongly agree).
2/7 faculty of behavioural and social sciences
Strongly Strongly disagree agree 7. I identified with the dance group during the
performance. 1 2 3 4 5 6 7 8. I felt connected with the dance group during the
performance. 1 2 3 4 5 6 7 9. I felt excluded when I watched the performance.
1 2 3 4 5 6 7 10. I focused my attention on the performance as a whole
rather than on individual dancers. 1 2 3 4 5 6 7 11. I focused my attention on one or more individual
dancers in particular. 1 2 3 4 5 6 7
The following statements are about how you experienced your relationship with the
197 SUPPLEMENT AR Y M A TERIAL .
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3/7 faculty of behavioural and social sciencesStrongly Strongly disagree agree 12. I felt connected with dancer 1 during the performance.
1 2 3 4 5 6 7 13. I felt connected with dancer 2 during the performance.
1 2 3 4 5 6 7 14. I felt connected with dancer 3 during the performance.
1 2 3 4 5 6 7 15. I felt connected with dancer 4 during the performance.
1 2 3 4 5 6 7
The following statements are about each dancer separately. Below the dancers are numbered by means of photographs. Indicate to what extent you agree with the statements.
Pictures dancers
4/7 faculty of behavioural and social sciences
Strongly Strongly disagree agree 16. I had the feeling that a bond developed between the
audience and the dance group during the performance. 1 2 3 4 5 6 7 17. I had the feeling that the performance reduced the
emotional distance between the audience and the dance group.
1 2 3 4 5 6 7
18. I experienced a sense of togetherness between the
audience and the dance group during the performance. 1 2 3 4 5 6 7
The following statements are about the relationship between the audience and the dance
group. Indicate to what extent you agree with these.
5/7 faculty of behavioural and social sciences
Strongly Strongly disagree agree 19. My overall evaluation of the performance is positive.
1 2 3 4 5 6 7 20. My overall evaluation of the performance is negative.
1 2 3 4 5 6 7 21. Which emotions did the performance evoke?
(describe your emotions with a few keywords) ………
……… ……… ……… 22. What did you think the performance was about?
(describe this with a few keywords) ………
……… ……… ……… 23. My interest in modern dance increased because of
this performance. 1 2 3 4 5 6 7 24. Because of this performance I am curious about the
other activities of Random Collision. 1 2 3 4 5 6 7 25. I would like to subscribe for the newsletter from
Random Collision so I am informed about future performances and activities.
(tick a box to indicate your answer)
☐ yes, subscribe me. (write down your email address on the final page of this questionnaire and hand it in separately)
☐ I am already subscribed. ☐no thank you.
The following statements and questions are about the performance and Random
198 S U P P L E M E N TA R Y MAT E R I A L
5/7 faculty of behavioural and social sciences
Strongly Strongly disagree agree 19. My overall evaluation of the performance is positive.
1 2 3 4 5 6 7 20. My overall evaluation of the performance is negative.
1 2 3 4 5 6 7 21. Which emotions did the performance evoke?
(describe your emotions with a few keywords) ………
……… ……… ……… 22. What did you think the performance was about?
(describe this with a few keywords) ………
……… ……… ……… 23. My interest in modern dance increased because of
this performance. 1 2 3 4 5 6 7 24. Because of this performance I am curious about the
other activities of Random Collision. 1 2 3 4 5 6 7 25. I would like to subscribe for the newsletter from
Random Collision so I am informed about future performances and activities.
(tick a box to indicate your answer)
☐ yes, subscribe me. (write down your email address on the final page of this questionnaire and hand it in separately)
☐I am already subscribed. ☐no thank you.
The following statements and questions are about the performance and Random
Collision. Answer the questions or indicate to what extent you agree with the statements.
6/7 faculty of behavioural and social sciences
Never Often 26. How often do you participate in cultural activities?
(museums, exhibitions, concerts, theatre, festivals, film, etc.) 1 2 3 4 5 6 7 27. How often do you visit modern dance performances?
1 2 3 4 5 6 7 28. Are you busy with dance yourself? ☐no
☐only as an audience ☐in a recreational context ☐in an organised context ☐in a professional context 29. Have you ever visited a performance of Random
Collision? ☐ no
☐ yes, …………. times. 30. Have you visited ‘Experiment A’ by Random Collision
last year at the Noorderzon Festival? ☐no
☐yes
31. Do you know one or more of the dancers from the
performance personally? ☐no (go to question 32) ☐yes (go to question 31a) 31a. If so, how well do you know this person/ these
persons?
(based on the person you know best)
☐barely ☐somewhat ☐ good ☐ very good 32. Did you come to this performance alone? ☐no
☐ yes
33. What is your age?
……… 34. What is your gender?
………
199 SUPPLEMENT AR Y M A TERIAL .
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6/7 faculty of behavioural and social sciencesNever Often 26. How often do you participate in cultural activities?
(museums, exhibitions, concerts, theatre, festivals, film, etc.) 1 2 3 4 5 6 7 27. How often do you visit modern dance performances?
1 2 3 4 5 6 7 28. Are you busy with dance yourself? ☐
no
☐only as an audience ☐in a recreational context ☐in an organised context ☐in a professional context 29. Have you ever visited a performance of Random
Collision? ☐no
☐yes, …………. times. 30. Have you visited ‘Experiment A’ by Random Collision
last year at the Noorderzon Festival? ☐ no
☐ yes
31. Do you know one or more of the dancers from the
performance personally? ☐no (go to question 32) ☐ yes (go to question 31a) 31a. If so, how well do you know this person/ these
persons?
(based on the person you know best)
☐barely ☐ somewhat ☐good ☐very good 32. Did you come to this performance alone? ☐no
☐yes
33. What is your age?
……… 34. What is your gender?
………
Finally, some questions about yourself.
7/7 faculty of behavioural and social sciences
35. What is your nationality?
……… 36. What is your seat number?
(your seat number is on the back of the clipboard) ………
37. Start time performance: ☐17h00
☐19h30 ☐ 21h00 38. Your unique code:
Write down the first two digits of your birthday here.
Write down the last two digits of your phone number here.
This is the end of the questionnaire. Did you answer all the questions? You can leave this questionnaire underneath your seat. Please remain seated until further instructions.
200 S U P P L E M E N TA R Y MAT E R I A L
Questionnaire Experiment 2b
faculty of behavioural and social sciences
1/3
Strongly Strongly disagree agree 1. I had the feeling that the group was a unit during the
game. 1 2 3 4 5 6 7 2. I thought there was a sense of togetherness among
the visitors during the game. 1 2 3 4 5 6 7 3. I had a unique contribution to the game.
1 2 3 4 5 6 7 4. I had the feeling I fulfilled an important role in the
game. 1 2 3 4 5 6 7 5. I identified with the group during the game.
1 2 3 4 5 6 7 6. I have the feeling I have a lot in common with the
group. 1 2 3 4 5 6 7 7. I felt connected with the group during the game.
1 2 3 4 5 6 7 8. I felt like an outsider during the game.
1 2 3 4 5 6 7 9. I had the feeling I belonged to the group during the
game. 1 2 3 4 5 6 7
The following statements are about the other visitors and you during the game RECONSTRUCTION. Indicate for each statement to what extent you agree with it. When ZHWDONDERXWµWKHJURXS¶ we mean the other visitors and you as a group.
Please answer some questions about the game RECONSTRUCTION.
Please note: The questionnaire is printed on both sides!
faculty of behavioural and social sciences
2/3
During RECONSTRUCTION we Strongly Strongly disagree agree 10. 1 2 3 4 5 6 7 11. 1 2 3 4 5 6 7 12. disorganised. 1 2 3 4 5 6 7 13. organised. 1 2 3 4 5 6 7 14. 1 2 3 4 5 6 7 15. 1 2 3 4 5 6 7 16. 1 2 3 4 5 6 7 17. conflictuous. 1 2 3 4 5 6 7
18. How would you describe the mood of the group during
the beginning of the game?
(describe this with a few keywords)
19. How would you describe the mood of the group during
the end of the game?
(describe this with a few keywords)
The following statements are about your assessment of the group (the other visitors and
you) during the game RECONSTRUCTION. (DFKVWDWHPHQWVWDUWVZLWKµ'XULQJ
5(&216758&7,21ZHZHUH«¶:LWKµZH¶ZHPHDQWKHRWKHUYLVLWRUVDQG\RXDVD group. Indicate to what extent you agree with these statements.
201 SUPPLEMENT AR Y M A TERIAL .
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faculty of behaviouraland social sciences
2/3
During RECONSTRUCTION we Strongly Strongly disagree agree 10. 1 2 3 4 5 6 7 11. 1 2 3 4 5 6 7 12. disorganised. 1 2 3 4 5 6 7 13. organised. 1 2 3 4 5 6 7 14. 1 2 3 4 5 6 7 15. 1 2 3 4 5 6 7 16. 1 2 3 4 5 6 7 17. conflictuous. 1 2 3 4 5 6 7
18. How would you describe the mood of the group during
the beginning of the game?
(describe this with a few keywords)
19. How would you describe the mood of the group during
the end of the game?
(describe this with a few keywords)
The following statements are about your assessment of the group (the other visitors and
you) during the game RECONSTRUCTION. (DFKVWDWHPHQWVWDUWVZLWKµ'XULQJ
5(&216758&7,21ZHZHUH«¶:LWKµZH¶ZHPHDQWKHRWKHUYLVLWRUVDQG\RXDVD group. Indicate to what extent you agree with these statements.
The following questions are about the mood of the group during RECONSTRUCTION.
faculty of behavioural and social sciences
3/3 20. Do you have any comments you would like to add?
21. What, according to you, is the purpose of this study?
22. Your unique code:
Write down the first two digits of your birthday here.
Write down the last two digits of your phone number here.
Note! Fill in the same digits as in the first questionnaire. This way we can link your questionnaires without compromising your anonymity.
Thank you very much for your participation!
Lastly, some final questions«
This is the end of the questionnaire. Did you answer all the questions? You can leave this questionnaire underneath your seat. Please remain seated until further instructions.
202 S U P P L E M E N TA R Y MAT E R I A L
Script for voice-over with intructions for the task (both Dutch
and English)
[BELL] Mag ik uw aandacht alstublieft. [BELL] May I please have your attention.
Welkom bij RECONSTRUCTION
RECONSTRUCTION is een spel. Het doel is om een stilleven van de ene kant van de
ruimte naar de andere kant van de ruimte te verplaatsen. U moet het stilleven zo
exact mogelijk reconstrueren, maar dan aan de andere kant van de ruimte. U krijgt
hiervoor 5 minuten. Tijdens het spel geldt maar één regel; op het moment dat u
een object van het stilleven hebt aangeraakt, mag u de rest van het spel uw voeten
niet meer verplaatsen. Het is alsof uw voeten aan de grond zijn genageld. Andere
lichaamsdelen kunt u wél vrij bewegen.
Welcome to RECONSTRUCTION
RECONSTRUCTION is a game. The goal is to move a still life from one side of the room
to the other side of the room. You have to reconstruct the still life as accurately as
possible, but on the other side of the room. You have 5 minutes to do this. During the
game there is only one rule; from the moment you touch an object of the still life you
are not allowed to move your feet anymore during the rest of the game. It is as if your
feet are nailed to the ground. However, the rest of your body is free to move.
Het spel begint zodra u de bel hoort. En het spel eindigt wanneer u de bel na 5
minuten weer hoort.
The game begins when you hear the bell. And the game ends when you hear the bell
again after 5 minutes.
[BELL]
[5 minutes silence]
[BELL]
De tijd is om. [BELL] Time is up.
U wordt vriendelijk verzocht het spel te stoppen. Objecten van het stilleven die u
nog vast heeft, kunt op de grond plaatsen op de plek waar u zich bevindt.
You are kindly requested to end the game. Objects of the still life you are still holding,
can be placed on the floor at the spot where you are standing.
203 SUPPLEMENT AR Y M A TERIAL .
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Het laatste deel van Experiment B vindt plaats in het theater. We vragen u deze
ruimte te verlaten en opnieuw plaats te nemen op uw stoel in het theater.
Dank u wel!
The final part of Experiment B takes place in the theatre. We ask you to leave this
room and return to your seat in the theatre.
204 S U P P L E M E N TA R Y MAT E R I A L
Questionnaire Experiment 3
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Code
Before we start the questionnaire, please fill in the following information. Which seat are you sitting on?
1 6 11 16
2 7 12 17
3 8 13 18
4 9 14 19
5 10 15
Please fill in the three digit code provided by the experimenter:
Introduction
You just watched a dance performance on screen with the other participant(s). We would like to ask you some questions about the performance and your experience. There are no right or wrong answers; just answer whatever comes to mind first.
While filling in this questionnaire we ask you to remain silent and seated and to not talk to the other participant(s) until everyone is finished.
Click '>>' to continue to the questionnaire.
Affect/appraisal
How did you feel during the performance?
Below you will find related moods (for example “passive, calm, quiet”) and their opposites (for example “active, cheerful, dynamic”). Think back to the performance. To what extent did your mood tend to be more on one side or the other? Indicate this on a scale from 1 to 7.
I felt passive, calm, quiet. I felt active, dynamic, cheerful. I felt unpleasant, not at ease, uncomfortable. I felt pleasant, at ease, comfortable.
I felt bored, inattentive, uninterested. I felt aroused, attentive, interested. I felt chaotic, incoherent. I felt structured, coherent. I felt disharmonious, discoordinated, unbalanced. I felt harmonious, coordinated,balanced.
I felt spontaneous, thoughtless, free. I felt mindful, conscious, controlled. I felt gentle, small, sensitive. I felt powerful, big, strong.
Now answer the same questions for your impression of the dancers as a group.
What impression did the dancers as a group make during the performance?
The dancers were passive, calm, quiet. The dancers were active, dynamic,cheerful.
1 2 3 4 5 6 7
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The dancers were unpleasant, not at ease,
uncomfortable. The dancers were pleasant, at ease,comfortable.
The dancers were bored, inattentive, uninterested. The dancers were aroused, attentive,interested. The dancers were chaotic, incoherent. The dancers were structured,coherent. The dancers were disharmonious, discoordinated,
unbalanced. The dancers were harmonious,coordinated, balanced. The dancers were spontaneous, thoughtless, free. The dancers were mindful, conscious,controlled.
The dancers were gentle, small, sensitive. The dancers were powerful, big,strong.
Perceived Solidarity
Now we will ask you some questions about the dancers. The dancers are the four dancers you saw performing in the video.
Click '>>' to continue to the questions.
The following statements are about the dancers during the performance. Indicate for each statement to what extent you agree with this on a scale from strongly disagree to strongly agree.
DisagreeStrongly StronglyAgree
I feel the dancers are a unit. I thought there was a sense of togetherness among the
dancers.
Each dancer fulfilled an important role in the performance. I believe each dancer was indispensable to the performance. The performance would remain the same with one dancer less.
Solidarity with the dancers
The following statements are about you and the dancers. Indicate for each statement to what extent you agree with this on a scale from strongly disagree to strongly agree.
DisagreeStrongly StronglyAgree While watching the performance I identified with the dancers.
While watching the performance I felt as one with the dancers. While watching the performance I felt connected with the dancers. I felt like an outsider when I watched the performance.
Below you see photos from the dancers from the performance. The dancers are numbered. The following statements are about how
connected you felt with each dancer. Indicate for each statement to what extent you agree with this on a scale from strongly disagree to
strongly agree.
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DisagreeStrongly StronglyAgree
During the performance I felt connected with dancer 1.
DisagreeStrongly StronglyAgree
During the performance I felt connected with dancer 2.
DisagreeStrongly StronglyAgree
During the performance I felt connected with dancer 3.
Dancer 1
Dancer 2
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DisagreeStrongly StronglyAgree
During the performance I felt connected with dancer 4.
Solidarity with the audience
Now we are going to ask you some questions about the audience. The audience includes you and the other person(s) with whom you watched the dance performance.
Click '>>' to continue to the questions.
The following statements are about the audience (you and the other person(s) with whom you watched the performance). Indicate to what extent you agree with these statements.
DisagreeStrongly StronglyAgree
I identify with the audience. I feel a sense of belonging with the audience. I feel connected with the audience. I experience a sense of togetherness in the audience.
Attitude
Now we are going to ask you some questions about the performance you watched. Click '>>' to continue to the questions.
Indicate to what extent you agree with each of these statements about the performance you watched.
DisagreeStrongly StronglyAgree I think the performance was directed.
It seemed as if the dancers were told what to do. It seemed as if the dancers sponteneously made decisions. I think the performance was improvised.
The following statements are about your opinion about the performance you watched. Indicate to what extent you agree with each of these statements.
208 S U P P L E M E N TA R Y MAT E R I A L
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Yes No
Barely
DisagreeStrongly StronglyAgree I thought the performance was well executed.
I enjoyed watching the performance. I thought the movements of the dancers looked professional.
What did you think of the performance? Indicate which of the two opposite words best describes your evaluation of the performance on a scale from 1 to 7. 1 indicates that you completely agree with the word on the left. 7 indicates that you completely agree with the word on the right.
Bad Good
Ugly Beautiful
Sad Happy
Unpleasant Pleasant
The following statements are about the performance and modern dance. Indicate to what extent you agree with these statements.
DisagreeStrongly StronglyAgree
Because of this performance my interest in modern dance
increased.
I would like to see this performance live. I would like to see other work from these dancers.
Demographics etc. About you
Finally, we have some questions about you. Click '>>' to continue to the questions. Please answer the following questions.
Never OftenVery
How often do you participate in cultural activities? (for example going to a
museum, exhibition, concert, theatre, festival, cinema, etc.)
How often do you visit dance performances? How often do you visit modern dance performances?
Did you know any of the dancers in the video?
How well do you know this person/these persons? (answer for the person you know best)
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Did you know the other participant(s) from this audience (the people you watched the video with) prior to this study?
How well do you know this person/these persons? (based on the person you know best)
The performance you watched was part of the 'line-up' of the Noorderzon Performing Arts Festival in Groningen in 2014. The performance was called 'Experiment B'.
Have you seen 'Experiment B' live at the Noorderzon?
Have you heard about 'Experiment B'?
What have you heard about 'Experiment B'?
What is your age?
What is your gender?
What is your nationality?
210 S U P P L E M E N TA R Y MAT E R I A L
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Yes, namely:
No, I do not study.
SONA (for SONA credits) PPP (for money)
Neither SONA or PPP (for money)
Yes No
Not good atall Very well
English speaking abilities English reading abilities English listening abilities
Do you study?
Are you participating in this study via SONA (1st-year SONA practicum pool) or via PPP (paid participant pool)?
What is your (SONA) ID code? (NOTE: This is NOT the same as your student number.)
What is your PPP ID code? (NOTE: This is NOT the same as your student number).
Are you a 1st-year psychology student?
What is your SONA ID code? This is the code you use for the 1e-years SONA practicum pool (NOTE: This is NOT the same as you student number, nor the same as you paid participant pool (PPP) ID-code).
What, according to you, is the purpose of this study?
END PAID
This is the end of the questionnaire. Thank you very much for participating in this research.
Please remain silent and seated until everyone is finished with the questionnaire.
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END SONA
This is the end of the questionnaire. Thank you very much for participating in this research.
212 S U P P L E M E N TA R Y MAT E R I A L Table 1. Experiment 1: C orr elations bet w een measur ements 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 1. P er ceiv ed entitativit y __ 2. P er ceiv ed personal value .404 *** __ 3. Dancers w er e dir ec ted .271 *** .140 * __ 4. Belong
ing with the dancers
.314 *** .325 *** -.067 __
5. Identification with dancers
.148 * .276 *** -.136 * .647 *** __
6. Identification with all dancers equally
.125 * .015 .140 * -.229 *** -.350 *** __ 7. Belong
ing with the audience
.037 .068 -.012 -.059 -.052 .025 __
8. Identification with the audience
.010 .008 .058 -.143 * -.092 .084 .655 *** __ 9. Entitativit
y with the audience
.118 .123 * -.097 .131 * .128 * -.104 .656 *** .469 *** __ 10. Entitativit
y audience and dancers
.251 *** .236 *** -.020 .339 *** .267 *** -.061 .324 *** .145 * .487 *** __
11. Closeness audience and dancers
.246 *** .283 *** -.045 .421 *** .279 *** -.148 * .159 ** .081 .276 *** .544 *** __ 12. E vok ed int er est .334 *** .392 *** .031 .401 *** .313 *** -.087 .029 .010 .169 ** .238 *** .144 * __ 13. S olidar
ity with the dancers [agg
regat ed] .287 *** .336 *** -.095 .968 *** .816 *** -.287 *** -.060 -.136 * .143 * .346 *** .412 *** .405 *** __ Not e: * p < .05, ** p < .01, *** p < .001
213 SUPPLEMENT AR Y M A TERIAL .
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Table 2. Experiment 1: Mean and 95% confidence interval from the participants’ feelings
per condition.
Condition Individuals
M [95%CI] MechanicalM [95%CI] M [95%CI]Organic
Passive, calm, quiet versus active,
dynamic, cheerful. 3.09 [2.81;3.36] 3.39 [3.09;3.70] 3.46 [3.15;3.77]
Unpleasant, not at ease, uncomfortable
versus pleasant, at ease, comfortable. 4.73 [4.44;5.03] 5.08 [4.80;5.37] 5.05 [4.74;5.37] Bored, inattentive, uninterested versus
aroused, attentive, interested. 5.21 [4.93;5.49] 5.21 [4.94;5.48] 5.15 [4.85;5.46] Chaotic, incoherent, disharmonious
versus structured, coherent, harmonious. 4.28 [3.98;4.58] 4.81 [4.52;5.10] 4.39 [4.03;4.74] Spontaneous, thoughtless, free versus
mindful, conscious, controlled. 4.40 [4.06;4.75] 4.51 [4.21;4.80] 4.58 [4.24;4.92] Gentle, small, weak versus powerful, big,
strong. 4.22 [3.99;4.45] 4.13 [3.92;4.35] 4.32 [4.06;4.58] passiv e, calm, quiet − activ e, dynamic , cheerful unpleasant, not at ease , uncom fo rtab le − pleasant, at ease , com fo rtab le bored, inattentiv e,
uninterested − aroused, attentiv
e, interested chaotic , incoherent, dishar monoius − str uctured, coherent, har monious spontaneaous , thoughtless , free − mindful,conscious , controlled gentle , small, weak − po werful, big, strong individuals mechanical organic 1 2 3 4 5 6 7
Figure 1. Experiment 1: Mean and 95% confidence interval from the participants’
214 S U P P L E M E N TA R Y MAT E R I A L
Table 3. Experiment 1: Mean and 95 % confidence intervals from the impression of the
dancers per condition.
Condition Individuals
M [95%CI] MechanicalM [95%CI] M [95%CI]Organic
Passive, calm, quiet versus active, dynamic,
cheerful. 4.83 [4.54;5.12] 4.42 [4.13;4.70] 5.22 [4.92;5.53]
Unpleasant, not at ease, uncomfortable
versus pleasant, at ease, comfortable. 4.53 [4.21;4.85] 4.95 [4.66;5.25] 5.35 [5.02;5.67] Bored, inattentive, uninterested versus
aroused, attentive, interested. 5.45 [5.18;5.71] 5.50 [5.26;5.75] 5.67 [5.39;5.94] Chaotic, incoherent, disharmonious versus
structured, coherent, harmonious. 3.81 [3.40;4.22] 5.52 [5.25;5.80] 4.91 [4.54;5.28] Spontaneous, thoughtless, free versus
mindful, conscious, controlled. 4.96 [4.60;5.33] 5.72 [5.47;5.98] 4.64 [4.24;5.04] Gentle, small, weak versus powerful, big,
strong. 5.01 [4.74;5.28] 4.74 [4.49;4.99] 5.31 [5.04;5.57]
Table 4. Experiment 1: Effect of Contract 1 and 2 on perceived entitativity and belonging,
controlling for feelings of pleasantness, ease, and comfort and cultural behaviour.
Dependent variable:
Perceived entitativity Belonging
Contrast 1 1.715*** 0.410* p < .001 p = .049 (1.31;2.12) (0.01;0.81) Contrast 2 0.021 0.132 p = .919 p = .531 (-0.43;0.48) (-0.32;0.59) Affect pleasantness 0.222*** 0.347*** p < .001 p < .001 (0.11;0.34) (0.23;0.46) Cultural behaviour 0.080 0.126* p = .174 p = .035 (-0.03;0.20) (0.01;0.24) Constant 3.566*** 1.249** p < .001 p = .001 (2.81;4.32) (0.50;2.00) Observations 260 260 Log Likelihood -438.732 -439.239
Akaike Inf. Crit. 891.464 892.479
Bayesian Inf. Crit. 916.388 917.404
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Table 5. Experiment 1: Effect of Contract 1 and 2 on perceived entitativity and belonging,
controlling for appraisal of pleasantness, ease, and comfort and cultural behaviour.
Dependent variable:
Perceived entitativity Belonging
Contrast 1 1.570*** 0.387 p < .001 p = .066 (1.18;1.96) (0.03;0.80) Contrast 2 -0.151 0.001 p = .460 p = .998 (-0.59;0.29) (-0.47;0.47) Affect pleasantness 0.320*** 0.222*** p < .001 p < .001 (0.21;0.43) (0.11;0.33) Cultural behaviour 0.054 0.102 p = .346 p = .095 (-0.06;0.17) (-0.02;0.22) Constant 3.211*** 1.955*** p < .001 p < .001 (2.54;3.88) (1.24;2.67) Observations 261 261 Log Likelihood -431.139 -448.028
Akaike Inf. Crit. 876.278 910.056
Bayesian Inf. Crit. 901.229 935.008
216 S U P P L E M E N TA R Y MAT E R I A L passiv e, calm, quiet − activ e, dynamic , cheerful unpleasant, not at ease , uncom fo rtab le − pleasant, at ease , com fo rtab le bored, inattentiv e,
uninterested − aroused, attentiv
e, interested chaotic , incoherent, dishar monoius − str uctured, coherent, har monious spontaneaous , thoughtless , free − mindful,conscious , controlled gentle , small, weak − po werful, big, strong individuals mechanical organic 1 2 3 4 5 6 7
Figure 2. Experiment 1: Mean and 95% confidence interval from the participants’
impression of the dancers per condition.
the performance
made me think I was absorbed by the performance the dancers’movement were contagious during the performance I searched for meaning individuals mechanical organic 1 23456 7
Figure 3. Experiment 1: Mean and 95% confidence interval from the participants’
217 SUPPLEMENT AR Y M A TERIAL .
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Figure 4. Experiment 1: Mean and 95% confidence interval from the participants’
experience of the performance per condition.
it is impor
tant that
the people in the audience exper
ienced the perf
or mance in the same w ay I belie ve that each
person in the audience has exper
ienced the perf
or mance in the same w ay I belie ve that each
person in the audience has exper
ienced the perf
or mance in his/her o wn w ay I belie ve I e xper ienced the perf or mance diff erently
than other people in the audience
I am afraid that I
e
xper
ienced the perf
or
mance
diff
erently than the other
people in the audience
I f eel I can be m yself in this audience individuals mechanical organic 1 2 3 4 5 6 7
Figure 5. Experiment 1: Mean and 95% confidence interval from the participants’
218 S U P P L E M E N TA R Y MAT E R I A L Table 6. Experiment 2: C orr elations bet w een measur ements 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 1. P er ceiv ed entitativit y __ 2. P er ceiv ed personal value .245 *** __ 3. P er ceiv ed similar ity .511 *** .168 ** __ 4. P er ceiv ed uniqueness .063 .266 *** -.005 __ 5. A tt ention t o whole .190 *** .120 * .178 ** -.124 * __ 6. A tt ention t o individuals -.124 * -.109 * -.092 .109 * -.549 *** __ 7. Belong
ing with the dancers
.278 *** .225 *** .202 *** .069 .096 -.119 * __
8. Identification with the dancers
.153 ** .261 ** .040 .075 .100 -.066 .617 *** __
9. Closeness audience and dancers
.188 *** .286 *** .156 ** .032 .217 *** -.132 * .509 *** .447 *** __ 10. E vok ed int er est .200 *** .340 *** .084 .077 .111 * -.100 .499 *** .500 *** .457 *** __ 11. P ositiv e e valuation .339 *** .369 *** .210 *** .044 .239 *** -.141 ** .555 *** .456 *** .471 *** .669 *** __ 12. Negativ e e valuation -.309 *** -.366 *** -.180 ** -.068 -.201 *** .138 ** -.541 *** -.419 *** -.417 *** -.634 *** -.886 *** __ 13. S olidar
ity with the dancers [agg
regat ed] .254 *** .264 *** .153 ** .080 .107 * -.108 * .939 *** .850 *** .535 *** .553 *** .570 *** -.544 *** __ 14. Ar tistic e valuation [agg regat ed] .292 *** .396 *** .160 ** .074 .192 *** -.133 * .583 *** .521 *** .502 *** .911 *** .898 *** -.881 *** .618 *** __ Not e: * p < .05, ** p < .01, *** p < .001
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Table 7. Experiment 2: Mean and standard deviation for perception of the target group
per condition Condition Individuals M (SD) MechanicalM (SD) OrganicM (SD) Perceived similarity 4.90 (1.63) 4.99 (1.29) 4.93 (1.46) Perceived uniqueness 5.66 (1.29) 5.19 (1.52) 5.43 (1.45) Attention to whole 3.44 (1.71) 3.96 (1.57) 4.18 (1.57) Attention to individuals 5.02 (1.59) 4.63 (1.62) 4.03 (1.56)
perceived similarity perceived uniqueness individuals mechanical organic 1 23456 7
Figure 6. Experiment 2a: Mean and 95% confidence interval for perception of the
220 S U P P L E M E N TA R Y MAT E R I A L
attention to whole attention to individuals individuals mechanical organic 1 23456 7
Figure 7. Experiment 2a: Mean and 95% confidence interval for attention per
condition.
Table 8.
Experiment 1: Number and percentage of participants who subscribed to thenewsletter per condition.
Condition Individuals N(%) MechanicalN(%) OrganicN(%) Yes 9 (10.98%) 26 (26.53%) 17 (22.08%) No 61 (74.39%) 64 (65.31%) 49 (63.64%) Already subscribed 12 (14.63%) 8 (8.16%) 11 (14.29%) Total 82 (100%) 98 (100%) 77 (100%)
Table 9. Experiment 2a: Mean and standard deviation for relationship with individual
dancers per condition.
Condition
Individuals Mechanical Organic
M (SD) M (SD) M (SD)
Connection with dancer 1 2.74 (1.84) 2.99 (1.51) 3.23 (1.61)
Connection with dancer 2 3.46 (1.68) 4.12 (1.48) 3.73 (1.71)
Connection with dancer 3 4.34 (1.89) 5.23 (1.41) 4.56 (1.72)
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connectionwith dancer 1 with dancer 2connection with dancer 3connection with dancer 4connection individuals mechanical organic 1 23456 7
Figure 8. Experiment 1: Mean and 95% confidence interval from the participants’
connection with each dancer per condition.
Table 10. Experiment 2a: Number and percentage of participants who subscribed to the
newsletter per condition
Condition Individuals N(%) MechanicalN(%) OrganicN(%) No 66 (66.67%) 94 (66.67%) 76 (67.26%) Yes 23 (23.23%) 27 (19.15%) 27 (23.89%) Already subscribed 10 (10.10%) 20 (14.18%) 10 (8.85%) Total 99 (100%) 141 (100%) 113 (100%)
222 S U P P L E M E N TA R Y MAT E R I A L
Table 11. Experiment 2b: Mean and standard deviation for solidarity among the
audience (after task) per condition
Condition
Individuals Mechanical Organic
M (SD) M (SD) M (SD) Entitativity 4.43 (1.50) 4.45 (1.37) 4.52 (1.39) Uniqueness 3.81 (1.71) 3.60 (1.78) 3.61 (1.82) Personal value 3.43 (1.66) 3.11 (1.66) 3.22 (1.69) Belonging 4.68 (1.29) 4.76 (1.23) 4.76 (1.39) Identification 3.80 (1.59) 4.05 (1.53) 4.06 (1.65) Similarity 3.35 (1.59) 3.48 (1.42) 3.60 (1.57)
playful serious disorganized organized individuals mechanical organic 1 23456 7
Figure 9. Experiment 2b: Mean and 95% confidence interval from the participants’
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active passive harmonious conflictuous individuals mechanical organic 1 23456 7
Figure 10. Experiment 2b: Mean and 95% confidence interval from the participants’
appraisal of the task per condition.
Table 12. Experiment 2a: Mean and standard deviation per condition for the number of
words used in the answer to the open question about feelings evoked by the performance
Condition
Individuals Mechanical Organic
M (SD) M (SD) M (SD) Positive 0.61 (0.76) 1.17 (0.94) 0.99 (0.95) Negative 1.62 (1.00) 1.12 (1.05) 0.83 (1.05) Arousal 1.95 (1.17) 2.00 (1.30) 1.58 (1.25) Non-arousal 0.09 (0.38) 0.12 (0.33) 0.17 (0.42) Structure 0.01 (0.10) 0.15 (0.41) 0.07 (0.26) Chaos 0.30 (0.52) 0.19 (0.48) 0.11 (0.34) Social 0.19 (0.39) 0.44 (0.70) 0.59 (0.84) Unsocial 0.48 (0.65) 0.37 (0.58) 0.34 (0.66)
224 S U P P L E M E N TA R Y MAT E R I A L
positive negative arousal non−arousal
individuals mechanical organic 0.0 0.5 1.0 1.5 2.0 2.5 3.0
Figure 11a. Experiment 2a: Mean and 95% confidence interval per condition for the
number of words used in the answer to the open question about feelings evoked by the performance.
structure chaos social unsocial
individuals mechanical organic 0.0 0.2 0.4 0.6 0.8 1.0
Figure 11b. Experiment 2a: Mean and 95% confidence interval per condition for the
number of words used in the answer to the open question about feelings evoked by the performance
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Table 13.Experiment 2b: Mean and standar
d de
viation per c
ondition for the number of w
or
ds used in the answ
er to the open question about
mood of the gr
oup during the beginning and the end of the task
Condition Individuals M echanical O rganic Beg inning End Beg inning End Beg inning End M (SD) M (SD) M (SD) M (SD) M (SD) M (SD) Positiv e 0.69 (0.81) 0.90 (0.88) 0.80 (0.81) 1.06 (0.91) 0.80 (0.87) 0.96 (0.92) Negativ e 0.41 (0.64) 0.42 (0.62) 0.30 (0.54) 0.32 (0.55) 0.26 (0.51) 0.28 (0.53) Ar ousal 1.05 (0.95) 1.08 (0.91) 1.15 (0.97) 1.18 (0.99) 1.15 (0.92) 1.04 (0.86) Non-ar ousal 0.38 (0.56) 0.20 (0.42) 0.45 (0.57) 0.15 (0.36) 0.34 (0.56) 0.14 (0.37) Struc tur e 0.07 (0.29) 0.05 (0.21) 0.12 (0.35) 0.13 (0.33) 0.13 (0.40) 0.04 (0.20) Chaos 0.17 (0.49) 0.20 (0.49) 0.17 (0.45) 0.15 (0.39) 0.11 (0.34) 0.08 (0.27) Social 0.25 (0.57) 0.28 (0.55) 0.27 (0.53) 0.39 (0.64) 0.33 (0.54) 0.36 (0.59) Unsocial 0.04 (0.19) 0.04 (0.19) 0.05 (0.22) 0.04 (0.18) 0.06 (0.23) 0.06 (0.23)
