The influence of sensorimotor experience on the aesthetic evaluation of dance across the life span

Aesthetic evaluation of body movements shaped by embodied and arts experience: Insights from behaviour and fNIRS

Aesthetic appreciation of full-body movements is likely shaped by our cumulative bodily experiences, yet most of the extant literature in this domain has focused on expertise and familiarity. We ran two experiments exploring individual differences in embodied experience and experience with the arts: In Study 1, we explored how participants' (n = 41) abilities to learn a choreography shaped their aesthetic perceptions while viewing learned vs. unknown movements, using functional near-infrared spectroscopy (fNIRS) to measure cortical activation over the Action Observation Network (i.e., inferior frontal gyrus [IFG], inferior parietal lobule, middle temporal gyrus [MTG]). Study 1 demonstrated that embodied experience enhanced ratings of enjoyment, familiarity, and reproducibility of movements, and that individual differences in participants' performance of the learned choreography were not associated with aesthetic ratings, but rather cortical activation in IFG and right MTG while viewing learned choreography. In Study 2, we combined the behavioural data from Study 1 with data from additional participants (total n = 141) to examine the relationship between arts experience and aesthetic perceptions of movements robustly. Study 2 revealed that previous arts and sports experience correlated with aesthetic judgements of familiarity and reproducibility of movements. Our findings highlight the relevance of examining individual experiences to fill theoretical gaps in our understanding of action aesthetics.

Neural correlates of harm avoidance: a multimodal meta-analysis of brain structural and resting-state functional neuroimaging studies

Harm avoidance (HA) is a Cloninger personality trait that describes behavioural inhibition to avoid aversive stimuli. It serves as a predisposing factor that contributes to the development of mental disorders such as anxiety and major depressive disorder. Neuroimaging research has identified some brain anatomical and functional correlates of HA, but reported findings are inconsistent. We therefore conducted a multimodal meta-analysis of whole-brain structural and resting-state functional neuroimaging studies to identify the most stable neural substrate of HA. Included were a total of 10 structural voxel-based morphometry studies (11 datasets) and 13 functional positron emission tomography or single photon emission computed tomography studies (16 datasets) involving 3053 healthy participants without any psychiatric or neurological disorders evaluated for HA using the Three-Dimensional Personality Questionnaire (TPQ) or the Temperament and Character Inventory (TCI). The meta-analysis revealed brain volumetric correlates of HA in parietal and temporal cortices, and resting-state functional correlates in prefrontal, temporal and parietal gray matter. Volumetric and functional correlates co-occurred in the left superior frontal gyrus and left middle frontal gyrus, and were dissociated in the left rectus gyrus. Our meta-analysis is the first study to give a comprehensive picture of the structural and functional correlates of HA, a contribution that may help bridge the grievous gap between the neurobiology of HA and the pathogenesis, prevention and treatment of HA-related mental disorders.

Enhanced neural synchrony associated with long-term ballroom dance training

Long-term dance training offers numerous benefits, including improvements in physical health, posture, body coordination, and mental health and well-being. Since dance is an art form of body-to-body communication, professional dancers may share feelings and thoughts on dance with their partners, owing to their shared training experiences. Considering this perspective, one may expect that professional dancers would demonstrate pronounced neural similarities when viewing dancing videos, which could be associated with their training duration. To test these hypotheses, we collected functional magnetic resonance imaging (fMRI) data while presenting ballroom dancing and neutral video clips with long durations (∼100 s each) to 41 professional ballroom dancers (19 pairs of dance partners) and 39 age- and sex-matched nondancers. Our findings revealed that dancers exhibited broader and stronger neural similarities across the whole brain when watching dancing video clips, as compared to the control group. These increased neural similarities could be interpreted in at least two distinct ways. First, neural similarities in certain brain regions within the motor control circuit (i.e., frontal cortical-basal ganglia-thalamic circuit) were significantly correlated with dance-related information (e.g., dance partners' cooperation duration), which reinforced the impact of long-term dance training on neural synchronization. Second, neural similarities in other brain regions (e.g., memory-related brain regions) were significantly correlated with subjects' impression of the viewed videos (i.e., whether they have watched before, familiarity, and liking), which may not necessarily be directly linked to long-term dance training. Altogether, our study provided solid evidence for synchronized neural mechanisms in professional dancers due to long-term dance training.

Beauty and Uncertainty as Transformative Factors: A Free Energy Principle Account of Aesthetic Diagnosis and Intervention in Gestalt Psychotherapy

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of unprocessed experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change.

The Aesthetic Self. The Importance of Aesthetic Taste in Music and Art for Our Perceived Identity

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest an Aesthetic Self Effect supporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found an Anaesthetic Self Effect. That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes.

Dissociating embodiment and emotional reactivity in motor responses to artworks

Perceiving art is known to elicit motor cortex activation in an observer's brain. This motor activation has often been attributed to a covert approach response associated with the emotional valence of an art piece (emotional reaction hypothesis). However, recent accounts have proposed that aesthetic experiences could be grounded in the motor simulation of actions required to produce an art piece and of the sensorimotor states embedded in its subject (embodied aesthetic hypothesis). Here, we aimed to test these two hypotheses by assessing whether motor facilitation during artwork perception mirrors emotional or motor simulation processes. To this aim, we capitalized on single pulse transcranial magnetic stimulation revealing a two-stage motor coding of emotional body postures: an early, non-specific activation related to emotion processing and a later action-specific activation reflecting motor simulation. We asked art-naïve individuals to rate how much they liked a series of pointillist and brushstroke canvases; photographs of artistic gardens served as control natural stimuli. After an early (150 ms) or a later (300 ms) post-stimulus delay, motor evoked potentials were recorded from wrist-extensor and finger muscles that were more involved in brushstroke- and pointillist-like painting, respectively. Results showed that observing the two canvas styles did not elicit differential motor activation in the early time window for either muscle, not supporting the emotional reaction hypothesis. However, in support of the embodied aesthetic hypothesis, we found in the later time window greater motor activation responses to brushstroke than pointillist canvases for the wrist-extensor, but not for the finger muscle. Furthermore, this muscle-selective facilitation was associated with lower liking ratings of brushstroke canvases and with greater empathy dispositions. These findings support the claim that simulation of the painter's movements is crucial for aesthetic experience, by documenting a link between motor simulation, dispositional empathy, and subjective appreciation in artwork perception.

Watch and Learn: The Cognitive Neuroscience of Learning from Others' Actions

The mirror neuron system has dominated understanding of observational learning from a cognitive neuroscience perspective. Our review highlights the value of observational learning frameworks that integrate a more diverse and distributed set of cognitive and brain systems, including those implicated in sensorimotor transformations, as well as in more general processes such as executive control, reward, and social cognition. We argue that understanding how observational learning occurs in the real world will require neuroscientific frameworks that consider how visuomotor processes interface with more general aspects of cognition, as well as how learning context and action complexity shape mechanisms supporting learning from watching others.

Are There Differences in Experts' and Lay Assessors' Attractiveness Judgments of Non-Professional Men's Dance/Gait Movements?

Research on attractiveness assessments of men's dance has shown that raters derive and integrate information about male mating-related qualities into their attractiveness assessments, but prior studies have focused on lay assessors (i.e., individuals with no professional dance background) rather than dance experts. We recruited male and female Russian dance experts (n = 23) to judge gender-neutral, featureless virtual characters, animated with motion-captured dance movements and gaits of British men, and compared their dance assessments to those from a group of Russian male and female lay assessors (n = 73). The dance experts provided higher dance and gait attractiveness judgments than the lay assessors. Both groups judged the gait movements to be of higher attractiveness than the dance movements. Differences in attractiveness assessments between experts and lay assessors were larger for the male judges than for the female judges. In an additional survey, the dance experts (versus lay assessors) placed greater emphasis on the importance of dance-related capacities and skills. We discuss our findings with reference to past research on dance/gait attractiveness as assessed by lay judges and the role of expertise in assessing body movement.