From Prof. Marina Wallace:

The MOVE ME ON project initially intended to explore the following:

Empirical Studies
We propose to examine the relationship between several components of body movement and of a dance performance and the effect these have on the psychological characteristics of the audience. In addition, we want to examine ways in which audience responses can be fed back to the dancers, and the dance production team, so that the dance performance can be manipulated in real time to further influence the audience. This preparatory work will involve a series of experimental studies.

Further discussion on the project:

The MOVE ME ON project team had originally proposed:
“One of our interests lies in the affective relationship between dance and the audience and we would like to explore this relationship across a wide range of audiences.”
“The scientific aims of this project are to address these questions using scientific methods …. and then enter an iterative cycle of creating dance, measuring people’s individual responses to it, and then re-creating the dance.”
It is interesting that the gap between the creation of a piece and its perception by an audience are connected in a different way to that which the project had originally envisaged.
The project had assumed that the process
“ …might involve a long-wave cycle, whereby the dance changes over a period of weeks following behavioural and affective feedback from multiple audiences, or it might involve a short-wave cycle, whereby the dance changes in real time based on some measure of bio-affective feedback from the audience. “
However, after Experiment 1, we encounter the following challenge:
- what does the choreographer intend to take into account in the process of creating a dance piece?
and, on the other hand;
- how does the psychologist classify the responses of the audience outside the specific creative and performative context?
 The question at this point is: how relevant are the responses classified by the psychologist to the creative process?
This raises one more questions:  how pertinent is the specific context of Contemporary Dance as opposed to other forms of dance, such as ballet, etc?
(Recreational dance was not intended to be part of this project)
It is apparent that each form of dance has its own particular creative characteristics.
The reflection of these factors is carried out from the outside of both areas by Prof Wallace as an observer, neither directly involved in the creative process, nor in the scientific experiments.