Bilateral engagement of the occipito-temporal cortex in response to dance kinematics in experts

Neural mechanisms of priming effects of spicy food pictures induced analgesia

In this study, the effects of the priming of spicy food pictures on pain perception were evaluated in female participants using standardized methods of pain. Results from behavior tests revealed that the priming of spicy food pictures significantly reduced pain perception, particularly at high-pain intensities. Electrophysiological analysis showed that the analgesic effects of spicy food pictures were linked to decreased pain-related event-related potentials, such as N2 and P2 amplitudes, and suppressed θ-oscillations in the sensorimotor cortex. Both N2 amplitudes and θ-oscillations activities were found to be correlated with participants' pain perception. These results suggest that spicy-arousal stimuli may act as an "antagonist" to the increase in N2 amplitudes and θ-oscillations power induced by pain and influence the neuronal networks involved in integrating spontaneous nociceptive resources, which supports the dissociation theory of pain sensation and affection. These findings highlight the potential use of spicy-arousal stimuli as an analgesic and emphasize the importance of considering both the intensity of the stimuli and the individual's emotional state in the assessment and treatment of pain.

Possible Gender Differences in Classical Music, Flamenco and Fado

Music is an art form and cultural activity whose language, the sounds and silences, is organized in time with logic and sensitivity. Music as a whole is the result of an ancestral nonverbal and international mode of human expression and communication. The primitive and former mother-child bonding might be highly influenced and modulated by the music and singing with their babies. Musicality and music imply two different sides of the same coin, where the former is based on the human capacity to produce the latter. Some theories about evolution suggest music might have an adaptive advantage for humans in society. Historical examples of different styles in music point out that if any allusion or reminder about gender in music might happen most probably occurs in folk non always written pagan or secular music with lyrics or voice. This genre of music usually tells about traditional gender differences in jobs, habits, lifestyles, etc., and has a clear preference for male musicians, while on the contrary, classical music usually does not have a clear gender difference in meaning, and instruments are played by both. In this text, I explore and empirically describe, neuroanatomically or functionally, some examples of different genres of music and brain differences, related to music and dance. Three different genres of music (Classical music, Fado and Flamenco) are explored in an attempt to elucidate some reasons for possible gender differences.

The McNorm library: creating and validating a new library of emotionally expressive whole body dance movements

The ability to exchange affective cues with others plays a key role in our ability to create and maintain meaningful social relationships. We express our emotions through a variety of socially salient cues, including facial expressions, the voice, and body movement. While significant advances have been made in our understanding of verbal and facial communication, to date, understanding of the role played by human body movement in our social interactions remains incomplete. To this end, here we describe the creation and validation of a new set of emotionally expressive whole-body dance movement stimuli, named the Motion Capture Norming (McNorm) Library, which was designed to reconcile a number of limitations associated with previous movement stimuli. This library comprises a series of point-light representations of a dancer's movements, which were performed to communicate to observers neutrality, happiness, sadness, anger, and fear. Based on results from two validation experiments, participants could reliably discriminate the intended emotion expressed in the clips in this stimulus set, with accuracy rates up to 60% (chance = 20%). We further explored the impact of dance experience and trait empathy on emotion recognition and found that neither significantly impacted emotion discrimination. As all materials for presenting and analysing this movement library are openly available, we hope this resource will aid other researchers in further exploration of affective communication expressed by human bodily movement.

Brain Activity of Professional Dancers During Audiovisual Stimuli Exposure: A Systematic Review

Many studies have shown the effect of dance to the brain. It seems that long-term practice modulates brain plasticity and visuomotor skills, as it activates the Action Observation Network (AON). The aim of this systematic review was to evaluate potential differences in the brain activity (visuomotor skills) between professional dancers and non-dancer adults, measured by electroencephalography (EEG), during the observation of an individual who is dancing (video dance stimuli). This literature search was conducted from February to June 2022, according to the PRISMA guidelines, in the PubMed database using advanced search, mesh terms, and extensive manual search. The included articles were published in English. Specifically, case-control studies were selected, which used healthy adults, professional dancers, and non-dancers as participants, who were exposed to video dance clips and measured by EEG. The articles were excluded if they were based on different type of study, unhealthy population, control group with athletic background, different type of stimuli (rhythmic), or different type of task and procedure. The ratings of quality of evidence were conducted using the Joanna Briggs Institute's (JBI) critical appraisal tool. Five case-control studies were included with 193 participants in total, 87% females. The participating groups of professional dancers (n = 12-25) had mean age 25.14 years, with at least 9-19 years of professional training, whereas control groups had the same sample size, mean age of 24.14 years, and no experience in dancing. Most of the studies presented high methodological quality. All studies showed significant differences in dancers' brain activity, especially regarding the visuomotor skills. The results showed faster activation of AON demonstrated by higher P300 at the frontocentral regions and increased sensitivity of the occipital temporal cortex. Dancers could cope easier with familiar-unfamiliar and effortful-effortless movements. They also demonstrated faster alpha band peak frequency, stronger synchrony over the bands theta, beta, gamma during the audiovisual stimuli, and the ability to encode faster the visual information. The results demonstrate that dancers had better visuomotor skills suggesting dance-enhanced neuroplasticity, as professional dancers processed their actions easier. Dance, which includes visuomotor tasks, could help in prevention, therapy, and rehabilitation of neurodegenerative diseases or movement disorders.

Altered Processing of Social Emotions in Individuals With Autistic Traits

Social impairment is a defining phenotypic feature of autism. The present study investigated whether individuals with autistic traits exhibit altered perceptions of social emotions. Two groups of participants (High-AQ and Low-AQ) were recruited based on their scores on the autism-spectrum quotient (AQ). Their behavioral responses and event-related potentials (ERPs) elicited by social and non-social stimuli with positive, negative, and neutral emotional valence were compared in two experiments. In Experiment 1, participants were instructed to view social-emotional and non-social emotional pictures. In Experiment 2, participants were instructed to listen to social-emotional and non-social emotional audio recordings. More negative emotional reactions and smaller amplitudes of late ERP components (the late positive potential in Experiment 1 and the late negative component in Experiment 2) were found in the High-AQ group than in the Low-AQ group in response to the social-negative stimuli. In addition, amplitudes of these late ERP components in both experiments elicited in response to social-negative stimuli were correlated with the AQ scores of the High-AQ group. These results suggest that individuals with autistic traits have altered emotional processing of social-negative emotions.

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.

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.

ERP indices of an orientation-dependent recognition of the human body schema

While it is well-established that the face perception is orientation-dependent, less evidence has been provided on the effects of the orientation on the body schema processing and related attentive mechanisms. Poorer performance in same/different judgment tasks and increased occipito-temporal N1 response to the inverted (vs. upright) body schema seem to hint at an orientation-dependent perceptual mechanism. The present electrophysiological study investigated the role of attentive selection processes required to recognize the inverted (vs. upright) body schema by means of the event-related potentials (ERP). 320 different images depicting body shapes (wooden dummies) as opposed to random structures of cubes were created in 3D graphics. Thirty-two right-handed participants were presented with the stimuli in an upright and inverted orientation. They were required to alternatively recognize one of the two categories of stimuli (by button press) regardless of the orientation, during EEG recording. The body inversion led to increased reaction times during body schema recognition. A slower anterior N2, larger N1, Selection Negativity (SN), and increased parietal P300 components were elicited by the perception of the inverted body schema. Slower stimulus processing and increased attention allocation were associated with the processing of the inverted body schema. The swLORETA source reconstruction (in the SN time window) showed enhanced engagement of prefrontal, limbic, and temporal regions during the perception of the inverted body schema. At the same time, the cubes' orientation did not affect ERP amplitudes. Overall, these pieces of evidence seem to suggest a crucial role of the upright orientation in the visual recognition of the human body schema.

Muscular effort coding in action representation in ballet dancers and controls: Electrophysiological evidence

The present electrophysiological (EEG) study investigated the neural correlates of perceiving effortful vs. effortless movements belonging to a specific repertoire (ballet). Previous evidence has shown an increased heart and respiratory rate during the observation and imagination of human actions that require a great muscular effort. In addition, TMS (transcranial magnetic stimulation) and EEG studies have evidenced a greater muscle-specific cortical excitability and an increase in late event-related potentials during the observation of effortful actions. In this investigation, fifteen professional female ballet dancers and 15 controls with no experience whatsoever with dance, gymnastics, or martial arts were recruited. They were shown 326 short videos displaying a male dancer performing standard ballet steps that could be either effortful or relatively effortless. Participants were instructed to observe each clip and imagine themselves physically executing the same movement. Importantly, they were blinded to the stimuli properties. The observation of effortful compared with effortless movements resulted in a larger P300 over frontal sites in dancers only, likely because of their visuomotor expertise with the specific steps. Moreover, an enhanced Late Positivity was identified over posterior sites in response to effortful stimuli in both groups, possibly reflecting the processing of larger quantities of visual kinematic information. The source reconstruction swLORETA performed on the Late Positivity component showed greater engagement of frontoparietal regions in dancers, while task-related frontal and occipitotemporal visual regions were more active in controls. It, therefore, appears that, in dancers, effort information was encoded in a more refined manner during action observation and in the absence of explicit instruction. Acquired motor knowledge seems to result in visuomotor resonance processes, which, in turn, underlies enhanced action representation of the observed movements.

The Effect of Expertise on Kinesthetic Motor Imagery of Complex Actions

The ability to mentally simulate an action by recalling the body sensations relative to the real execution is referred to as kinesthetic motor imagery (MI). Frontal and parietal motor-related brain regions are generally engaged during MI. The present study aimed to investigate the time course and neural correlates of complex action imagery and possible effects of expertise on the underlying action representation processes. Professional ballet dancers and controls were presented with effortful and effortless ballet steps and instructed to mentally reproduce each movement during EEG recording. Time-locked MI was associated with an Anterior Negativity (AN) component (400-550 ms) that was larger in dancers relative to controls. The AN was differentially modulated by the motor content (effort) as a function of ballet expertise. It was more negative in response to effortful (than effortless) movements in control participants only. This effect also had a frontal distribution in controls and a centro-parietal distribution in dancers, as shown by the topographic maps of the scalp voltage. The source reconstruction (swLORETA) of the recorded potentials in the AN time-window showed enhanced engagement of prefrontal regions in controls (BA 10/47) relative to dancers, and occipitotemporal (BA 20) and bilateral sensorimotor areas in dancers (BA6/40) compared with controls. This evidence seems to suggest that kinesthetic MI of complex action relied on visuomotor simulation processes in participants with acquired dance expertise. Simultaneously, increased cognitive demands occurred in participants lacking in motor knowledge with the specific action. Hence, professional dance training may lead to refined action representation processes.

Left-Hemispheric Asymmetry for Object-Based Attention: an ERP Study

It has been shown that selective attention enhances the activity in visual regions associated with stimulus processing. The left hemisphere seems to have a prominent role when non-spatial attention is directed towards specific stimulus features (e.g., color, spatial frequency). The present electrophysiological study investigated the time course and neural correlates of object-based attention, under the assumption of left-hemispheric asymmetry. Twenty-nine right-handed participants were presented with 3D graphic images representing the shapes of different object categories (wooden dummies, chairs, structures of cubes) which lacked detail. They were instructed to press a button in response to a target stimulus indicated at the beginning of each run. The perception of non-target stimuli elicited a larger anterior N2 component, which was likely associated with motor inhibition. Conversely, target selection resulted in an enhanced selection negativity (SN) response lateralized over the left occipito-temporal regions, followed by a larger centro-parietal P300 response. These potentials were interpreted as indexing attentional selection and categorization processes, respectively. The standardized weighted low-resolution electromagnetic tomography (swLORETA) source reconstruction showed the engagement of a fronto-temporo-limbic network underlying object-based visual attention. Overall, the SN scalp distribution and relative neural generators hinted at a left-hemispheric advantage for non-spatial object-based visual attention.