The Effect of Expertise on Kinesthetic Motor Imagery of Complex Actions

Neural signatures of imaginary motivational states: desire for music, movement and social play

The literature has demonstrated the potential for detecting accurate electrical signals that correspond to the will or intention to move, as well as decoding the thoughts of individuals who imagine houses, faces or objects. This investigation examines the presence of precise neural markers of imagined motivational states through the combining of electrophysiological and neuroimaging methods. 20 participants were instructed to vividly imagine the desire to move, listen to music or engage in social activities. Their EEG was recorded from 128 scalp sites and analysed using individual standardized Low-Resolution Brain Electromagnetic Tomographies (LORETAs) in the N400 time window (400-600 ms). The activation of 1056 voxels was examined in relation to the 3 motivational states. The most active dipoles were grouped in eight regions of interest (ROI), including Occipital, Temporal, Fusiform, Premotor, Frontal, OBF/IF, Parietal, and Limbic areas. The statistical analysis revealed that all motivational imaginary states engaged the right hemisphere more than the left hemisphere. Distinct markers were identified for the three motivational states. Specifically, the right temporal area was more relevant for "Social Play", the orbitofrontal/inferior frontal cortex for listening to music, and the left premotor cortex for the "Movement" desire. This outcome is encouraging in terms of the potential use of neural indicators in the realm of brain-computer interface, for interpreting the thoughts and desires of individuals with locked-in syndrome.

Imagine to automatize: automatization of stimulus-response coupling after action imagery practice in implicit sequence learning

Action imagery practice (AIP) describes the repetitive imagination of an action to improve subsequent action execution. Because AIP and action execution practice (AEP) draw on partly similar motor mechanisms, it was assumed that AIP may lead to motor automatization, which is observable in a reduction of dual-task costs after AEP. To investigate automatization in AIP, we compared dual-task and single-task performance in practice and random sequences in pretests and posttests. All participants practiced serial reactions to visual stimuli in ten single-task practice sessions. An AIP group imagined the reactions. An AEP group and a control practice group executed the reactions. Practice followed a sequential sequence in AIP and AEP but was random in control practice. In dual-task test conditions, tones were counted that appeared in addition to the visual stimuli. RTs decreased from pretest to posttest in both practice and random sequences in all groups indicating general sequence-unspecific learning. Further, RTs decreased to a greater extent in the practice sequence than in the random sequence after AIP and AEP, indicating sequence-specific learning. Dual-task costs-the difference between RTs after tone and no tone events-were reduced independent from the performed sequence in all groups indicating sequence-unspecific automatization. It is concluded that the stimulus-response coupling can be automatized by both, AEP and AIP.

The Neuroscience of Dance: A Conceptual Framework and Systematic Review

Ancient and culturally universal, dance pervades many areas of life and has multiple benefits. In this article, we provide a conceptual framework and systematic review, as a guide for researching the neuroscience of dance. We identified relevant articles following PRISMA guidelines, and summarised and evaluated all original results. We identified avenues for future research in: the interactive and collective aspects of dance; groove; dance performance; dance observation; and dance therapy. Furthermore, the interactive and collective aspects of dance constitute a vital part of the field but have received almost no attention from a neuroscientific perspective so far. Dance and music engage overlapping brain networks, including common regions involved in perception, action, and emotion. In music and dance, rhythm, melody, and harmony are processed in an active, sustained pleasure cycle giving rise to action, emotion, and learning, led by activity in specific hedonic brain networks. The neuroscience of dance is an exciting field, which may yield information concerning links between psychological processes and behaviour, human flourishing, and the concept of eudaimonia.

Neuropsychological Activations and Networks While Performing Visual and Kinesthetic Motor Imagery

This study aimed to answer the questions 'What are the neural networks and mechanisms involved in visual and kinesthetic motor imagery?', and 'Is part of cognitive processing included during visual and kinesthetic motor imagery?' by investigating the neurophysiological networks and activations during visual and kinesthetic motor imagery using motor imagery tasks (golf putting). The experiment was conducted with 19 healthy adults. Functional magnetic resonance imaging (fMRI) was used to examine neural activations and networks during visual and kinesthetic motor imagery using golf putting tasks. The findings of the analysis on cerebral activation patterns based on the two distinct types of motor imagery indicate that the posterior lobe, occipital lobe, and limbic lobe exhibited activation, and the right hemisphere was activated during the process of visual motor imagery. The activation of the temporal lobe and the parietal lobe were observed during the process of kinesthetic motor imagery. This study revealed that visual motor imagery elicited stronger activation in the right frontal lobe, whereas kinesthetic motor imagery resulted in greater activation in the left frontal lobe. It seems that kinesthetic motor imagery activates the primary somatosensory cortex (BA 2), the secondary somatosensory cortex (BA 5 and 7), and the temporal lobe areas and induces human sensibility. The present investigation evinced that the neural network and the regions of the brain that are activated exhibit variability contingent on the category of motor imagery.

Timing-specific patterns of cerebral activations during motor imagery: A case study of the expert brain signature

Brain activations elicited during motor imagery (MI) in experts are typically reduced compared to novices, which is interpreted as a neurophysiological correlate of increased neural efficiency. However, the modulatory effects of MI speed on expertise-related differences in brain activation remains largely unknown. In the present pilot study, we compared the magnetoencephalographic (MEG) correlates of MI in an Olympic medallist and an amateur athlete under conditions of slow, real-time and fast MI. Data revealed event-related changes in the time course of alpha (8-12 Hz) power of MEG oscillations, for all timing conditions. We found that slow MI was associated with a corollary increase in neural synchronization, in both participants. Sensor-level and source-level analyses however disclosed differences between the two expertise levels. The Olympic medallist achieved greater activation of cortical sensorimotor networks than the amateur athlete, particularly during fast MI. Fast MI elicited the strongest event-related desynchronization of alpha oscillations, which was generated from cortical sensorimotor sources in the Olympic medallist, but not in the amateur athlete. Taken together, data suggest that fast MI is a particularly demanding form of motor cognition, putting a specific emphasis on cortical sensorimotor networks to achieve the formation of accurate motor representations under demanding timing constraints.

Measuring brain potentials of imagination linked to physiological needs and motivational states

Introduction

While EEG signals reflecting motor and perceptual imagery are effectively used in brain computer interface (BCI) contexts, little is known about possible indices of motivational states. In the present study, electrophysiological markers of imagined motivational states, such as craves and desires were investigated.

Methods

Event-related potentials (ERPs) were recorded in 31 participants during perception and imagery elicited by the presentation of 360 pictograms. Twelve micro-categories of needs, subdivided into four macro-categories, were considered as most relevant for a possible BCI usage, namely: primary visceral needs (e.g., hunger, linked to desire of food); somatosensory thermal and pain sensations (e.g., cold, linked to desire of warm), affective states (e.g., fear: linked to desire of reassurance) and secondary needs (e.g., desire to exercise or listen to music). Anterior N400 and centroparietal late positive potential (LPP) were measured and statistically analyzed.

Results

N400 and LPP were differentially sensitive to the various volition stats, depending on their sensory, emotional and motivational poignancy. N400 was larger to imagined positive appetitive states (e.g., play, cheerfulness) than negative ones (sadness or fear). In addition, N400 was of greater amplitude during imagery of thermal and nociceptive sensations than other motivational or visceral states. Source reconstruction of electromagnetic dipoles showed the activation of sensorimotor areas and cerebellum for movement imagery, and of auditory and superior frontal areas for music imagery.

Discussion

Overall, ERPs were smaller and more anteriorly distributed during imagery than perception, but showed some similarity in terms of lateralization, distribution, and category response, thus indicating some overlap in neural processing, as also demonstrated by correlation analyses. In general, anterior frontal N400 provided clear markers of subjects’ physiological needs and motivational states, especially cold, pain, and fear (but also sadness, the urgency to move, etc.), than can signal life-threatening conditions. It is concluded that ERP markers might potentially allow the reconstruction of mental representations related to various motivational states through BCI systems.

The multisensory nature of human action imagery

Imagination can appeal to all our senses and may, therefore, manifest in very different qualities (e.g., visual, tactile, proprioceptive, or kinesthetic). One line of research addresses action imagery that refers to a process by which people imagine the execution of an action without actual body movements. In action imagery, visual and kinesthetic aspects of the imagined action are particularly important. However, other sensory modalities may also play a role. The purpose of the paper will be to address issues that include: (i) the creation of an action image, (ii) how the brain generates images of movements and actions, (iii) the richness and vividness of action images. We will further address possible causes that determine the sensory impression of an action image, like task specificity, instruction and experience. In the end, we will outline open questions and future directions.

Effect of skill proficiency on motor imagery ability between amateur dancers and non-dancers

Evidence has shown that athletes with high motor skill proficiency possess higher motor imagery ability than those with low motor skill proficiency. However, less is known whether this superiority in motor imagery ability emerges over amateur athletes. To address the issue, the present study aimed to investigate the individual differences in motor imagery ability between amateur dancers and non-dancers. Forty participants completed a novel dance movement reproduction task and measures of the vividness of visual imagery questionnaire (VVIQ) and the vividness of motor imagery questionnaire (VMIQ). The results showed that, relative to non-dancers, amateur dancers had higher ability of motor imagery to reproduce the lower-limb and upper-limb dance movements during the dance movement reproduction task. Besides, amateur dancers displayed higher abilities of the visual motor imagery and the kinesthetic imagery, but comparable visual imagery ability as the non-dancers. These findings suggest that the mental representation of motors but not the visual is affected by the motor skill levels, due to the motor imagery practice in sports amateurs.

Stabilometric Correlates of Motor and Motor Imagery Expertise

Motor Imagery (MI) reproduces cognitive operations associated with the actual motor preparation and execution. Postural recordings during MI reflect somatic motor commands targeting peripheral effectors involved in balance control. However, how these relate to the actual motor expertise and may vary along with the MI modality remains debated. In the present experiment, two groups of expert and non-expert gymnasts underwent stabilometric assessments while performing physically and mentally a balance skill. We implemented psychometric measures of MI ability, while stabilometric variables were calculated from the center of pressure (COP) oscillations. Psychometric evaluations revealed greater MI ability in experts, specifically for the visual modality. Experts exhibited reduced surface COP oscillations in the antero-posterior axis compared to non-experts during the balance skill (14.90%, 95% CI 34.48–4.68, p < 0.05). Experts further exhibited reduced length of COP displacement in the antero-posterior axis and as a function of the displacement area during visual and kinesthetic MI compared to the control condition (20.51%, 95% CI 0.99–40.03 and 21.85%, 95% CI 2.33–41.37, respectively, both p < 0.05). Predictive relationships were found between the stabilometric correlates of visual MI and physical practice of the balance skill, as well as between the stabilometric correlates of kinesthetic MI and the training experience in experts. Present results provide original stabilometric insights into the relationships between MI and expertise level. While data support the incomplete inhibition of postural commands during MI, whether postural responses during MI of various modalities mirror the level of motor expertise remains unclear.

Photographs of Actions: What Makes Them Special Cues to Social Perception

I have reviewed studies on neural responses to pictured actions in the action observation network (AON) and the cognitive functions of these responses. Based on this review, I have analyzed the specific representational characteristics of action photographs. There has been consensus that AON responses provide viewers with knowledge of observed or pictured actions, but there has been controversy about the properties of this knowledge. Is this knowledge causally provided by AON activities or is it dependent on conceptual processing? What elements of actions does it refer to, and how generalized or specific is it? The answers to these questions have come from studies that used transcranial magnetic stimulation (TMS) to stimulate motor or somatosensory cortices. In conjunction with electromyography (EMG), TMS allows researchers to examine changes of the excitability in the corticospinal tract and muscles of people viewing pictured actions. The timing of these changes and muscle specificity enable inferences to be drawn about the cognitive products of processing pictured actions in the AON. Based on a review of studies using TMS and other neuroscience methods, I have proposed a novel hypothetical account that describes the characteristics of action photographs that make them effective cues to social perception. This account includes predictions that can be tested experimentally.

The Impact of Context on EEG Motor Imagery Neurofeedback and Related Motor Domains

Neurofeedback (NF) is a versatile non-invasive neuromodulation technique. In combination with motor imagery (MI), NF has considerable potential for enhancing motor performance or supplementing motor rehabilitation. However, not all users achieve reliable NF control. While research has focused on various brain signal properties and the optimisation of signal processing to solve this issue, the impact of context, i.e. the conditions in which NF motor tasks occur, is comparatively unknown. We review current research on the impact of context on MI NF and related motor domains. We identify long-term factors that act at the level of the individual or of the intervention, and short-term factors, with levels before/after and during a session. The reviewed literature indicates that context plays a significant role. We propose considering context factors as well as within-level and across-level interactions when studying MI NF.

Dancing in Your Head: An Interdisciplinary Review

The aim of this review is to highlight the most relevant contributions on dance in neuroscientific research. Neuroscience has analyzed the mirror system through neuroimaging techniques, testing its role in imitative learning, in the recognition of other people's emotions and especially in the understanding of the motor behavior of others. This review analyses the literature related to five general areas: (I) breakthrough studies on the mirror system, and subsequent studies on its involvement in the prediction, the execution, the control of movement, and in the process of "embodied simulation" within the intersubjective relationship; (II) research focused on investigating the neural networks in action observation, and the neural correlates of motor expertise highlighted by comparative studies on different dance styles; (III) studies dealing with the viewer's experience of dance according to specific dance repertoires, which revealed the relevance of choreographic choices for aesthetic appreciation; (IV) studies focused on dance as an aesthetic experience, where both the emotional and the cultural dimension play a significant role, and whose investigation paves the way to further progress both in empirical and in phenomenological research methodologies; (V) collaboration-based experiments, in which neuroscientists and choreographers developed expertise-related questions, especially focusing on the multiple phenomena that underlie motor imagery.

Dance Is More Than Meets the Eye-How Can Dance Performance Be Made Accessible for a Non-sighted Audience?

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's "Sons of Sissy," we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research.

Timing is everything: Dance aesthetics depend on the complexity of movement kinematics

What constitutes a beautiful action? Research into dance aesthetics has largely focussed on subjective features like familiarity with the observed movement, but has rarely studied objective features like speed or acceleration. We manipulated the kinematic complexity of observed actions by creating dance sequences that varied in movement timing, but not in movement trajectory. Dance-naïve participants rated the dance videos on speed, effort, reproducibility, and enjoyment. Using linear mixed-effects modeling, we show that faster, more predictable movement sequences with varied velocity profiles are judged to be more effortful, less reproducible, and more aesthetically pleasing than slower sequences with more uniform velocity profiles. Accordingly, dance aesthetics depend not only on which movements are being performed but on how movements are executed and linked into sequences. The aesthetics of movement timing may apply across culturally-specific dance styles and predict both preference for and perceived difficulty of dance, consistent with information theory and effort heuristic accounts of aesthetic appreciation.