Neurocognitive control in dance perception and performance

Is Beauty in the Eyes of the Beholder? Aesthetic Quality versus Technical Skill in Movement Evaluation of Tai Chi

The aim of this study was to compare experts to naïve practitioners in rating the beauty and the technical quality of a Tai Chi sequence observed in video-clips (of high and middle level performances). Our hypothesis are: i) movement evaluation will correlate with the level of skill expressed in the kinematics of the observed action but ii) only experts will be able to unravel the technical component from the aesthetic component of the observed action. The judgments delivered indicate that both expert and non-expert observers are able to discern a good from a mediocre performance; however, as expected, only experts discriminate the technical from the aesthetic component of the action evaluated and do this independently of the level of skill shown by the model (high or middle level performances). Furthermore, the judgments delivered were strongly related to the kinematic variables measured in the observed model, indicating that observers rely on specific movement kinematics (e.g. movement amplitude, jerk and duration) for action evaluation. These results provide evidence of the complementary functional role of visual and motor action representation in movement evaluation and underline the role of expertise in judging the aesthetic quality of movements.

Identifying enhanced cortico-basal ganglia loops associated with prolonged dance training

Studies have revealed that prolonged, specialized training combined with higher cognitive conditioning induces enhanced brain alternation. In particular, dancers with long-term dance experience exhibit superior motor control and integration with their sensorimotor networks. However, little is known about the functional connectivity patterns of spontaneous intrinsic activities in the sensorimotor network of dancers. Our study examined the functional connectivity density (FCD) of dancers with a mean period of over 10 years of dance training in contrast with a matched non-dancer group without formal dance training using resting-state fMRI scans. FCD was mapped and analyzed, and the functional connectivity (FC) analyses were then performed based on the difference of FCD. Compared to the non-dancers, the dancers exhibited significantly increased FCD in the precentral gyri, postcentral gyri and bilateral putamen. Furthermore, the results of the FC analysis revealed enhanced connections between the middle cingulate cortex and the bilateral putamen and between the precentral and the postcentral gyri. All findings indicated an enhanced functional integration in the cortico-basal ganglia loops that govern motor control and integration in dancers. These findings might reflect improved sensorimotor function for the dancers consequent to long-term dance training.

New framework for rehabilitation - fusion of cognitive and physical rehabilitation: the hope for dancing

Neurorehabilitation programs are commonly employed with the goal to help restore functionality in patients. However, many of these therapies report only having a small impact. In response to the need for more effective and innovative approaches, rehabilitative methods that take advantage of the neuroplastic properties of the brain have been used to aid with both physical and cognitive impairments. Following this path of reasoning, there has been a particular interest in the use of physical exercise as well as musical related activities. Although such therapies demonstrate potential, they also have limitations that may affect their use, calling for further exploration. Here, we propose dance as a potential parallel to physical and music therapies. Dance may be able to aid with both physical and cognitive impairments, particularly due to it combined nature of including both physical and cognitive stimulation. Not only does it incorporate physical and motor skill related activities, but it can also engage various cognitive functions such as perception, emotion, and memory, all while done in an enriched environment. Other more practical benefits, such as promoting adherence due to being enjoyable, are also discussed, along with the current literature on the application of dance as an intervention tool, as well as future directions required to evaluate the potential of dance as an alternative therapy in neurorehabilitation.

Segmentation of dance movement: effects of expertise, visual familiarity, motor experience and music

According to event segmentation theory, action perception depends on sensory cues and prior knowledge, and the segmentation of observed actions is crucial for understanding and memorizing these actions. While most activities in everyday life are characterized by external goals and interaction with objects or persons, this does not necessarily apply to dance-like actions. We investigated to what extent visual familiarity of the observed movement and accompanying music influence the segmentation of a dance phrase in dancers of different skill level and non-dancers. In Experiment 1, dancers and non-dancers repeatedly watched a video clip showing a dancer performing a choreographed dance phrase and indicated segment boundaries by key press. Dancers generally defined less segment boundaries than non-dancers, specifically in the first trials in which visual familiarity with the phrase was low. Music increased the number of segment boundaries in the non-dancers and decreased it in the dancers. The results suggest that dance expertise reduces the number of perceived segment boundaries in an observed dance phrase, and that the ways visual familiarity and music affect movement segmentation are modulated by dance expertise. In a second experiment, motor experience was added as factor, based on empirical evidence suggesting that action perception is modified by visual and motor expertise in different ways. In Experiment 2, the same task as in Experiment 1 was performed by dance amateurs, and was repeated by the same participants after they had learned to dance the presented dance phrase. Less segment boundaries were defined in the middle trials after participants had learned to dance the phrase, and music reduced the number of segment boundaries before learning. The results suggest that specific motor experience of the observed movement influences its perception and anticipation and makes segmentation broader, but not to the same degree as dance expertise on a professional level.

Supplementary motor area and primary auditory cortex activation in an expert break-dancer during the kinesthetic motor imagery of dance to music

The current study used functional magnetic resonance imaging to examine the neural activity of an expert dancer with 35 years of break-dancing experience during the kinesthetic motor imagery (KMI) of dance accompanied by highly familiar and unfamiliar music. The goal of this study was to examine the effect of musical familiarity on neural activity underlying KMI within a highly experienced dancer. In order to investigate this in both primary sensory and motor planning cortical areas, we examined the effects of music familiarity on the primary auditory cortex [Heschl's gyrus (HG)] and the supplementary motor area (SMA). Our findings reveal reduced HG activity and greater SMA activity during imagined dance to familiar music compared to unfamiliar music. We propose that one's internal representations of dance moves are influenced by auditory stimuli and may be specific to a dance style and the music accompanying it.

Traces across the body: influence of music-dance synchrony on the observation of dance

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers; and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis-music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer's gaze towards the face-the main "communicative portal" with respect to the transmission of intent, affect and empathy.

Strong biomechanical constraints on young children's mental imagery of hands

Mental rotation (MR) of body parts is a useful paradigm to investigate how people manipulate mental imagery related to body schema. It has been documented that adult participants use 'motor imagery' for MR of hands: a behavioural indication is a biomechanical effect, that is, hand pictures in orientations to which imitative hand movement would be biomechanically difficult require longer response times to be visually identified as the left or right hand. However, little is known about the typical developmental trajectory of the biomechanical effect, which could offer clues to understanding how children acquire the ability to manipulate body schema. This study investigated developmental changes in the biomechanical effect in schoolchildren. Eighty-four children (from 6 to 11 years old, grouped into 1st, 2nd, 3rd, 4th and 5th graders) and fifteen adults made hand laterality judgements in an MR paradigm. The results indicated that the biomechanical effect is stronger for younger children, and that there is a transitional period (around 7-8 years) during which children shift from action execution to imagery in manipulating body schema. The results suggest that mental imagery of hands has a stronger motor aspect in the transitional period than later in childhood and adulthood.

Brain electrical activities of dancers and fast ball sports athletes are different

Exercise training has been shown not only to influence physical fitness positively but also cognition in healthy and impaired populations. However, some particular exercise types, even though comparable based on physical efforts, have distinct cognitive and sensorimotor features. In this study, the effects of different types of exercise, such as fast ball sports and dance training, on brain electrical activity were investigated. Electroencephalography (EEG) scans were recorded in professional dancer, professional fast ball sports athlete (FBSA) and healthy control volunteer groups consisting of twelve subjects each. In FBSA, power of delta and theta frequency activities of EEG was significantly higher than those of the dancers and the controls. Conversely, dancers had significantly higher amplitudes in alpha and beta bands compared to FBSA and significantly higher amplitudes in the alpha band in comparison with controls. The results suggest that cognitive features of physical training can be reflected in resting brain electrical oscillations. The differences in resting brain electrical oscillations between the dancers and the FBSA can be the result of innate network differences determining the talents and/or plastic changes induced by physical training.

A developmental study of the effect of music training on timed movements

When people clap to music, sing, play a musical instrument, or dance, they engage in temporal entrainment. We examined the effect of music training on the precision of temporal entrainment in 57 children aged 10–14 years (31 musicians, 26 non-musicians). Performance was examined for two tasks: self-paced finger tapping (discrete movements) and circle drawing (continuous movements). For each task, participants synchronized their movements with a steady pacing signal and then continued the movement at the same rate in the absence of the pacing signal. Analysis of movements during the continuation phase revealed that musicians were more accurate than non-musicians at finger tapping and, to a lesser extent, circle drawing. Performance on the finger-tapping task was positively associated with the number of years of formal music training, whereas performance on the circle-drawing task was positively associated with the age of participants. These results indicate that music training and maturation of the motor system reinforce distinct skills of timed movement.

Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo"

Entrainment theory focuses on processes in which interacting (i.e., coupled) rhythmic systems stabilize, producing synchronization in the ideal sense, and forms of phase related rhythmic coordination in complex cases. In human action, entrainment involves spatiotemporal and social aspects, characterizing the meaningful activities of music, dance, and communication. How can the phenomenon of human entrainment be meaningfully studied in complex situations such as dance? We present an in-progress case study of entrainment in William Forsythe's choreography Duo, a duet in which coordinated rhythmic activity is achieved without an external musical beat and without touch-based interaction. Using concepts of entrainment from different disciplines as well as insight from Duo performer Riley Watts, we question definitions of entrainment in the context of dance. The functions of chorusing, turn-taking, complementary action, cues, and alignments are discussed and linked to supporting annotated video material. While Duo challenges the definition of entrainment in dance as coordinated response to an external musical or rhythmic signal, it supports the definition of entrainment as coordinated interplay of motion and sound production by active agents (i.e., dancers) in the field. Agreeing that human entrainment should be studied on multiple levels, we suggest that entrainment between the dancers in Duo is elastic in time and propose how to test this hypothesis empirically. We do not claim that our proposed model of elasticity is applicable to all forms of human entrainment nor to all examples of entrainment in dance. Rather, we suggest studying higher order phase correction (the stabilizing tendency of entrainment) as a potential aspect to be incorporated into other models.

Stepping to phase-perturbed metronome cues: multisensory advantage in movement synchrony but not correction

Humans can synchronize movements with auditory beats or rhythms without apparent effort. This ability to entrain to the beat is considered automatic, such that any perturbations are corrected for, even if the perturbation was not consciously noted. Temporal correction of upper limb (e.g., finger tapping) and lower limb (e.g., stepping) movements to a phase perturbed auditory beat usually results in individuals being back in phase after just a few beats. When a metronome is presented in more than one sensory modality, a multisensory advantage is observed, with reduced temporal variability in finger tapping movements compared to unimodal conditions. Here, we investigate synchronization of lower limb movements (stepping in place) to auditory, visual and combined auditory-visual (AV) metronome cues. In addition, we compare movement corrections to phase advance and phase delay perturbations in the metronome for the three sensory modality conditions. We hypothesized that, as with upper limb movements, there would be a multisensory advantage, with stepping variability being lowest in the bimodal condition. As such, we further expected correction to the phase perturbation to be quickest in the bimodal condition. Our results revealed lower variability in the asynchronies between foot strikes and the metronome beats in the bimodal condition, compared to unimodal conditions. However, while participants corrected substantially quicker to perturbations in auditory compared to visual metronomes, there was no multisensory advantage in the phase correction task—correction under the bimodal condition was almost identical to the auditory-only (AO) condition. On the whole, we noted that corrections in the stepping task were smaller than those previously reported for finger tapping studies. We conclude that temporal corrections are not only affected by the reliability of the sensory information, but also the complexity of the movement itself.

"Some like it hot": spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators’ physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators’ reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences.

Human premotor areas parse sequences into their spatial and temporal features

Skilled performance is characterized by precise and flexible control of movement sequences in space and time. Recent theories suggest that integrated spatio-temporal trajectories are generated by intrinsic dynamics of motor and premotor networks. This contrasts with behavioural advantages that emerge when a trained spatial or temporal feature of sequences is transferred to a new spatio-temporal combination arguing for independent neural representations of these sequence features. We used a new fMRI pattern classification approach to identify brain regions with independent vs integrated representations. A distinct regional dissociation within motor areas was revealed: whereas only the contralateral primary motor cortex exhibited unique patterns for each spatio-temporal sequence combination, bilateral premotor areas represented spatial and temporal features independently of each other. These findings advocate a unique function of higher motor areas for flexible recombination and efficient encoding of complex motor behaviours.

DOI:http://dx.doi.org/10.7554/eLife.03043.001

Once a pianist has learned to play a song, he or she can nearly effortlessly reproduce the sequence of finger movements needed to play the song with a particular rhythm. A skilled pianist can also improvise, pairing the same keystrokes with a different rhythm or playing the same rhythm with a slightly different sequence of keys. This ability to flexibly modify and recombine sequences of physical movements in space and time enables humans to exhibit great creativity in music, language, and many other tasks that require motor skills. However, the underlying brain mechanisms that allow this flexibility are only beginning to be explored.

Some scientists have theorized that networks of brain cells in the parts of the brain that control movement store a sequence in time and space as one inseparable unit. However, this theory doesn't explain why pianists and other skilled individuals can separate and recombine the physical movements and timing of a sequence in new ways. An alternate idea is that the brain captures the information necessary to execute a series of physical movements separately from the timing at which the movements are to be carried out. This would allow these features to be put together in new ways.

Kornysheva and Diedrichsen taught a group of volunteers a series of finger movements paired with particular rhythms. Half the volunteers performed the task using their left hand and the other half with their right hand. After training the volunteers performed better when producing sequences they had been trained on, even in trials where either the rhythm or the finger sequence was slightly changed.

The volunteers were also asked to perform the trained movements while their brain activity was monitored in a functional magnetic resonance imaging (fMRI) machine. Kornysheva and Diedrichsen looked for areas that showed similar patterns of increases and decreases in activity whenever a particular sequence was performed. This identified areas that showed unique patterns for each trained sequence combination of finger movements and rhythm, which could be distinguished from areas where the activity patterns for sequences remained similar across rhythms or across finger movements.

Kornysheva and Diedrichsen found that a region of the brain that controls movement encodes sequences on the opposite side of the brain from the moving hand. In this part of the brain, the movement and timing were encoded together as one unit. However, in premotor areas—which are known to help individuals to plan movements—the timing and the finger movements appeared to be encoded separately in overlapping patches on both sides of the brain. This automatic separation appears to be a fundamental function of the premotor cortex, enabling behavioural flexibility and the storage of complex sequences of movements in space and time.

DOI:http://dx.doi.org/10.7554/eLife.03043.002

A norming study and library of 203 dance movements

Dance stimuli have been used in experimental studies of (i) how movement is processed in the brain; (ii) how affect is perceived from bodily movement; and (iii) how dance can be a source of aesthetic experience. However, stimulus materials across--and even within--these three domains of research have varied considerably. Thus, integrative conclusions remain elusive. Moreover, concerns have been raised that the movements selected for such stimuli are qualitatively too different from the actual art form dance, potentially introducing noise in the data. We propose a library of dance stimuli which responds to the stimuli requirements and design criteria of these three areas of research, while at the same time respecting a dance art-historical perspective, offering greater ecological validity as compared with previous dance stimulus sets. The stimuli are 5-6 s long video clips, selected from genuine ballet performances. Following a number of coding experiments, the resulting stimulus library comprises 203 ballet dance stimuli coded in (i) 25 qualitative and quantitative movement variables; (ii) affective valence and arousal; and (iii) the aesthetic qualities beauty, liking, and interest. An Excel spreadsheet with these data points accompanies this manuscript, and the stimuli can be obtained from the authors upon request.

ERP modulation during observation of abstract paintings by Franz Kline

The aim of this study was to test the involvement of sensorimotor cortical circuits during the beholding of the static consequences of hand gestures devoid of any meaning.In order to verify this hypothesis we performed an EEG experiment presenting to participants images of abstract works of art with marked traces of brushstrokes. The EEG data were analyzed by using Event Related Potentials (ERPs). We aimed to demonstrate a direct involvement of sensorimotor cortical circuits during the beholding of these selected works of abstract art. The stimuli consisted of three different abstract black and white paintings by Franz Kline. Results verified our experimental hypothesis showing the activation of premotor and motor cortical areas during stimuli observation. In addition, abstract works of art observation elicited the activation of reward-related orbitofrontal areas, and cognitive categorization-related prefrontal areas. The cortical sensorimotor activation is a fundamental neurophysiological demonstration of the direct involvement of the cortical motor system in perception of static meaningless images belonging to abstract art. These results support the role of embodied simulation of artist’s gestures in the perception of works of art.

The impact of sensorimotor experience on affective evaluation of dance

Past research demonstrates that we are more likely to positively evaluate a stimulus if we have had previous experience with that stimulus. This has been shown for judgment of faces, architecture, artworks and body movements. In contrast, other evidence suggests that this relationship can also work in the inverse direction, at least in the domain of watching dance. Specifically, it has been shown that in certain contexts, people derive greater pleasure from watching unfamiliar movements they would not be able to physically reproduce compared to simpler, familiar actions they could physically reproduce. It remains unknown, however, how different kinds of experience with complex actions, such as dance, might change observers' affective judgments of these movements. Our aim was to clarify the relationship between experience and affective evaluation of whole body movements. In a between-subjects design, participants received either physical dance training with a video game system, visual and auditory experience or auditory experience only. Participants' aesthetic preferences for dance stimuli were measured before and after the training sessions. Results show that participants from the physical training group not only improved their physical performance of the dance sequences, but also reported higher enjoyment and interest in the stimuli after training. This suggests that physically learning particular movements leads to greater enjoyment while observing them. These effects are not simply due to increased familiarity with audio or visual elements of the stimuli, as the other two training groups showed no increase in aesthetic ratings post-training. We suggest these results support an embodied simulation account of aesthetics, and discuss how the present findings contribute to a better understanding of the shaping of preferences by sensorimotor experience.

Equilíbrio estático e dinâmico em bailarinos: revisão da literatura

A dança envolve integração de movimento, equilíbrio postural e aspectos relacionados ao controle postural. Informações sobre o equilíbrio em bailarinos são de grande importância, pois eles são considerados modelos de controle postural. O objetivo foi revisar estudos sobre equilíbrio postural estático e dinâmico em bailarinos, caracterizando o controle e a dependência visual desses atletas para a manutenção do equilíbrio. Para isso, foi realizada uma revisão nas bases de dados PubMed, SciELO, Lilacs e Science Direct, considerando o período entre 1997 a 2013, utilizando os descritores equilíbrio, controle postural, plataforma de forças, ballet, bailarinos clássicos e aferência visual. Foram selecionados 18 artigos capazes de fornecer dados quantitativos para avaliação do equilíbrio nesses atletas classificados pelo nível de evidência científica Oxford. A literatura revisada mostra completa concordância quanto ao efeito da retirada da informação visual sobre a estabilidade postural de bailarinos considerados como executantes altamente treinados. Estudos mostrando a comparação do equilíbrio de bailarinos com outras técnicas desportivas confirmaram um padrão específico de equilíbrio nesses indivíduos. Entretanto, associando-se à restrição visual, bailarinos apresentaram maior deslocamento do centro de pressão comparado a outras modalidades desportivas, sugerindo maior dependência visual para a manutenção do equilíbrio. Bailarinos apresentam menor oscilação postural em relação a indivíduos não treinados e indivíduos treinados em outras práticas desportivas, com maior dependência visual para manutenção do equilíbrio.

The cognitive benefits of movement reduction: evidence from dance marking

In a number of domains, humans adopt a strategy of systematically reducing and minimizing a codified system of movement. One particularly interesting case is "marking" in dance, wherein the dancer performs an attenuated version of the choreography during rehearsal. This is ostensibly to save the dancer's physical energy, but a number of considerations suggest that it may serve a cognitive function as well. In this study, we tested this embodied-cognitive-load hypothesis by manipulating whether dancers rehearsed by marking or by dancing "full out" and found that performance was superior in the dancers who had marked. This finding indicates that marking confers cognitive benefits during the rehearsal process, and it raises questions regarding the cognitive functions of other movement-reduction systems, such as whispering, gesturing, and subvocalizing. In addition, it has implications for a variety of topics in cognitive science, including embodied cognition and the nascent fields of dance and music cognition.

Uni- and multisensory brain areas are synchronised across spectators when watching unedited dance recordings

The superior temporal sulcus (STS) and gyrus (STG) are commonly identified to be functionally relevant for multisensory integration of audiovisual (AV) stimuli. However, most neuroimaging studies on AV integration used stimuli of short duration in explicit evaluative tasks. Importantly though, many of our AV experiences are of a long duration and ambiguous. It is unclear if the enhanced activity in audio, visual, and AV brain areas would also be synchronised over time across subjects when they are exposed to such multisensory stimuli. We used intersubject correlation to investigate which brain areas are synchronised across novices for uni- and multisensory versions of a 6-min 26-s recording of an unfamiliar, unedited Indian dance recording (Bharatanatyam). In Bharatanatyam, music and dance are choreographed together in a highly intermodal-dependent manner. Activity in the middle and posterior STG was significantly correlated between subjects and showed also significant enhancement for AV integration when the functional magnetic resonance signals were contrasted against each other using a general linear model conjunction analysis. These results extend previous studies by showing an intermediate step of synchronisation for novices: while there was a consensus across subjects' brain activity in areas relevant for unisensory processing and AV integration of related audio and visual stimuli, we found no evidence for synchronisation of higher level cognitive processes, suggesting these were idiosyncratic.

Continuous theta burst stimulation (cTBS) on left cerebellar hemisphere affects mental rotation tasks during music listening

Converging evidence suggests an association between spatial and music domains. A cerebellar role in music-related information processing as well as in spatial-temporal tasks has been documented. Here, we investigated the cerebellar role in the association between spatial and musical domains, by testing performances in embodied (EMR) or abstract (AMR) mental rotation tasks of subjects listening Mozart Sonata K.448, which is reported to improve spatial-temporal reasoning, in the presence or in the absence of continuous theta burst stimulation (cTBS) of the left cerebellar hemisphere. In the absence of cerebellar cTBS, music listening did not influence either MR task, thus not revealing a "Mozart Effect". Cerebellar cTBS applied before musical listening made subjects faster (P = 0.005) and less accurate (P = 0.005) in performing the EMR but not the AMR task. Thus, cerebellar inhibition by TBS unmasked the effect of musical listening on motor imagery. These data support a coupling between music listening and sensory-motor integration in cerebellar networks for embodied representations.

An emerging paradigm: a strength-based approach to exploring mental imagery

Mental imagery, or the ability to simulate in the mind information that is not currently perceived by the senses, has attracted considerable research interest in psychology since the early 1970's. Within the past two decades, research in this field-as in cognitive psychology more generally-has been dominated by neuroscientific methods that typically involve comparisons between imagery performance of participants from clinical populations with those who exhibit apparently normal cognitive functioning. Although this approach has been valuable in identifying key neural substrates of visual imagery, it has been less successful in understanding the possible mechanisms underlying another simulation process, namely, motor imagery or the mental rehearsal of actions without engaging in the actual movements involved. In order to address this oversight, a "strength-based" approach has been postulated which is concerned with understanding those on the high ability end of the imagery performance spectrum. Guided by the expert performance approach and principles of ecological validity, converging methods have the potential to enable imagery researchers to investigate the neural "signature" of elite performers, for example. Therefore, the purpose of this paper is to explain the origin, nature, and implications of the strength-based approach to mental imagery. Following a brief explanation of the background to this latter approach, we highlight some important theoretical advances yielded by recent research on mental practice, mental travel, and meta-imagery processes in expert athletes and dancers. Next, we consider the methodological implications of using a strength-based approach to investigate imagery processes. The implications for the field of motor cognition are outlined and specific research questions, in dynamic imagery, imagery perspective, measurement, multi-sensory imagery, and metacognition that may benefit from this approach in the future are sketched briefly.

Motor expertise modulates movement processing in working memory

A substantial amount of literature has demonstrated individuals' tendency to code verbally a series of movements for subsequent recall. However, the mechanisms underlying movement encoding remain unclear. In this paper, I argue that sensorimotor expertise influences the involvement of motor processes to store movements in working memory. Experts in motor activities and individuals with limited motor expertise were compared in three experimental conditions assessing movement recall: (a) without suppression task, (b) with verbal suppression, and (c) with motor suppression. Athletes outperformed controls in movement recall, but the suppression tasks affected the two groups differently. Verbal suppression affected controls more than athletes, whereas the effect was reversed with motor suppression. Together, these findings suggest that controls and athletes favor different mechanisms to encode movements, either based on verbal or on motor processes, providing further evidence for a tight relationship between sensorimotor and cognitive processes.