Have I grooved to this before? Discriminating practised and observed actions in a novel context

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.

A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of “dancing” is enjoyed as a dancer within different dance domains (e.g., professional/”high-art” type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body.

The dynamics of the interrelation of perception and action across the life span

Successful social interaction relies on the interaction partners' perception, anticipation and understanding of their respective actions. The perception of a particular action and the capability to produce this action share a common representational ground. So far, no study has explored the interrelation between action perception and production across the life span using the same tasks and the same measurement techniques. This study was designed to fill this gap. Participants between 3 and 80 years (N = 214) observed two multistep actions of different familiarities and then reproduced the according actions. Using eye tracking, we measured participants' action perception via their prediction of action goals during observation. To capture subtler perceptual processes, we additionally analysed the dynamics and recurrent patterns within participants' gaze behaviour. Action production was assessed via the accuracy of the participants' reproduction of the observed actions. No age-related differences were found for the perception of the familiar action, where participants of all ages could rely on previous experience. In the unfamiliar action, where participants had less experience, action goals were predicted more frequently with increasing age. The recurrence in participants' gaze behaviour was related to both, age and action production: gaze behaviour was more recurrent (i.e. less flexible) in very young and very old participants, and lower levels of recurrence (i.e. greater flexibility) were related to higher scores in action production across participants. Incorporating a life-span perspective, this study illustrates the dynamic nature of developmental differences in the associations of action production with action perception.

Dance Training Shapes Action Perception and Its Neural Implementation within the Young and Older Adult Brain

How we perceive others in action is shaped by our prior experience. Many factors influence brain responses when observing others in action, including training in a particular physical skill, such as sport or dance, and also general development and aging processes. Here, we investigate how learning a complex motor skill shapes neural and behavioural responses among a dance-naïve sample of 20 young and 19 older adults. Across four days, participants physically rehearsed one set of dance sequences, observed a second set, and a third set remained untrained. Functional MRI was obtained prior to and immediately following training. Participants' behavioural performance on motor and visual tasks improved across the training period, with younger adults showing steeper performance gains than older adults. At the brain level, both age groups demonstrated decreased sensorimotor cortical engagement after physical training, with younger adults showing more pronounced decreases in inferior parietal activity compared to older adults. Neural decoding results demonstrate that among both age groups, visual and motor regions contain experience-specific representations of new motor learning. By combining behavioural measures of performance with univariate and multivariate measures of brain activity, we can start to build a more complete picture of age-related changes in experience-dependent plasticity.