ABSTRACT This paper presents a cross-disciplinary project based on an experiment in eye-tracking and motion capture (Sainsbury’s Centre for Visual Arts), which aimed to study viewers’ movements around an iconic sculpture: Edgar Degas’s Little Dancer Aged Fourteen. The experiment studies how viewers respond to this three-dimensional artwork not only by looking at it but also through their own bodily reactions to it, such as by unconsciously mimicking a represented attitude or gesture. We compared two groups of viewers: classically trained dancers and non-dancers. Our hypothesis was that the skills and embodied experiences of the dancers would alter the ways in which they engage bodily with the work compared to the non-dancers. Our underlying research question was: how are vision and the body interlinked in esthetic and kinesthetic experience? This paper does not give results, which are forthcoming. It focuses on methodology and provides a commentary on the design and development of the interdisciplinary collaboration behind the project. It explores an interdisciplinary collaboration that bridges the humanities and experimental sciences and asks how being confronted with unfamiliar methodologies forces researchers in a given field to critically self-examine the limits and presuppositions of their practices.

中文翻译：

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具身观看和德加十四岁的小舞者：眼动追踪和动作捕捉的多学科实验

摘要 本文提出了一个基于眼动追踪和动作捕捉实验（塞恩斯伯里视觉艺术中心）的跨学科项目，旨在研究观众围绕标志性雕塑的动作：埃德加·德加的十四岁小舞者。该实验研究了观众对这件 3D 艺术作品的反应，不仅是通过观看它，还包括他们自己对它的身体反应，例如无意识地模仿所表现的态度或手势。我们比较了两组观众：受过古典训练的舞者和非舞者。我们的假设是，与非舞者相比，舞者的技能和体验会改变他们身体参与工作的方式。我们的基本研究问题是：视觉和身体如何在审美和动觉体验中相互关联？本文没有给出结果，这些结果即将发布。它侧重于方法论，并对项目背后的跨学科合作的设计和开发进行了评论。它探索了一种跨学科合作，将人文科学和实验科学联系起来，并询问面对不熟悉的方法论如何迫使特定领域的研究人员批判性地自我审视其实践的局限性和预设。