Beatriz Calvo-Merino

Transcranial magnetic stimulation reveals two cortical pathways for visual body processing

Visual recognition of human bodies is more difficult for upside down than upright presentations. This body inversion effect implies that body perception relies on configural rather than local processing. Although neuroimaging studies indicate that the visual processing of human bodies engages a large fronto-temporo-parietal network, information about the neural underpinnings of configural body processing is meager. Here, we used repetitive transcranial magnetic stimulation (rTMS) to study the causal role of premotor, visual, and parietal areas in configural processing of human bodies. Eighteen participants performed a delayed matching-to-sample task with upright or inverted static body postures. Event-related, dual-pulse rTMS was applied 150 ms after the sample stimulus onset, over left ventral premotor cortex (vPMc), right extrastriate body area (EBA), and right superior parietal lobe (SPL) and, as a control site, over the right primary visual cortex (V1). Interfering stimulation of vPMc significantly reduced accuracy of matching judgments for upright bodies. In contrast, EBA rTMS significantly reduced accuracy for inverted but not for upright bodies. Furthermore, a significant body inversion effect was observed after interfering stimulation of EBA and V1 but not of vPMc and SPL. These results demonstrate an active contribution of the fronto-parietal mirror network to configural processing of bodies and suggest a novel, embodied aspect of visual perception. In contrast, the local processing of the body, possibly based on the form of individual body parts instead of on the whole body unit, appears to depend on EBA. Therefore, we propose two distinct cortical routes for the visual processing of human bodies.

Towards a sensorimotor aesthetics of performing art

The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the performing arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six naïve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures.

Experts see it all: configural effects in action observation

Biological motion perception is influenced by observers’ familiarity with the observed action. Here, we used classical dance as a means to investigate how visual and motor experience modulates perceptual mechanism for configural processing of actions. Although some ballet moves are performed by only one gender, male and female dancers train together and acquire visual knowledge of all ballet moves. Twenty-four expert ballet dancers (12 female) and matched non-expert participants viewed pairs of upright and inverted point light female and common dance movements. Visual discrimination between different exemplars of the same movement presented upright was significantly better in experts than controls, whilst no differences were found when the same stimuli were presented upside down. These results suggest expertise influences configural action processing. Within the expert group, effects were stronger for female participants than for males, whilst no differences were found between movement types. This observer gender effect could suggest an additional role for motor familiarity in action perception, over and above the visual experience. Our results are consistent with a specific motor contribution to configural processing of action.

Extrastriate body area underlies aesthetic evaluation of body stimuli.

Humans appear to be the only animals to have developed the practice and culture of art. This practice presumably relies on special processing circuits within the human brain associated with a distinct subjective experience, termed aesthetic experience, and preferentially evoked by artistic stimuli. We assume that positive or negative aesthetic judgments are an important function of neuroaesthetic circuits. The localisation of these circuits in the brain remains unclear, though neuroimaging studies have suggested several possible neural correlates of aesthetic preference. We applied repetitive transcranial magnetic stimulation (rTMS) over candidate brain areas to disrupt aesthetic processing while healthy volunteers made aesthetic preference judgments between pairs of dance postures, or control non-body stimuli. Based on evidence from visual body perception studies, we targeted the ventral premotor cortex (vPMC) and extrastriate body area (EBA), in the left and right hemispheres. rTMS over EBA reduced aesthetic sensitivity for body stimuli relative to rTMS over vPMC, while no such difference was found for non-body stimuli. We interpret our results within the framework of dual routes for visual body processing. rTMS over either EBA or vPMC reduced the contributions of the stimulated area to body processing, leaving processing more reliant on the unaffected route. Disruption of EBA reduces the local processing of the stimuli and reduced observers’ aesthetic sensitivity. Conversely, disruption of the global route via vPMC increased the relative contribution of the local route via EBA and thus increased aesthetic sensitivity. In this way, we suggest a complementary contribution of both local and global routes to aesthetic processing.

Enhancing emotional experiences to dance through music: the role of valence and arousal in the cross-modal bias.

It is well established that emotional responses to stimuli presented to one perceptive modality (e.g., visual) are modulated by the concurrent presentation of affective information to another modality (e.g., auditory)—an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants’ subjective emotion ratings and their Galvanic Skin Responses (GSR) in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements) that most participants would have relatively little prior experience with. Results showed (i) that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements; and (ii) that movement valence did not modulate participants’ GSR, while movement arousal did, such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the affective dimension of neuroentrainment and with regards to implications for the art community.

Episodic Recollection Difficulties in ASD Result from Atypical Relational Encoding: Behavioral and Neural Evidence

Memory functioning in Autism Spectrum Disorder (ASD) is characterized by impairments in the encoding of relational but not item information and difficulties in the recollection of contextually rich episodic memories but not in the retrieval of relatively context‐free memories through processes of familiarity. The neural underpinnings of this profile and the extent to which encoding difficulties contribute to retrieval difficulties in ASD remain unclear. Using a paradigm developed by Addis and McAndrews [2006; Neuroimage, 33, 1194–1206] we asked adults with and without a diagnosis of ASD to study word‐triplets during functional Magnetic Resonance Imaging (fMRI) scanning that varied in the number of category relations amongst component words. Performance at test confirmed attenuated recollection in the context of preserved familiarity based retrieval in ASD. The results also showed that recollection but not familiarity based retrieval increases as a function of category relations in word triads for both groups, indicating a close link between the encoding of relational information and recollection. This link was further supported by the imaging results, where blood oxygen level dependent (BOLD) signal responses in overlapping regions of the inferior prefrontal cortex were sensitive to the relational encoding manipulation as well as the contrast between recollection versus familiarity based retrieval. Interestingly, however, there was no evidence of prefrontal signal differentiation for this latter contrast in the ASD group for whom signal changes in a left hippocampal region were also marginally attenuated. Together, these observations suggest that attenuated levels of episodic recollection in ASD are, at least in part, attributable to anomalies in relational encoding processes. Autism Res 2015, 8: 317–327.

Embodied aesthetics: insight from cognitive neuroscience of the performing arts.

Echoing the phenomenological tradition in philosophy, recent hypotheses have proposed that aesthetic experiences are grounded in the embodied simulation of the actions, emotions, and corporeal sensations represented in artworks. We refer to these simulative processes as “embodied aesthetics”. Recent investigations in cognitive neuroscience have helped us to explore the mechanisms of complex human experiences and some of them have been specifically dedicated to the study of the neural underpinning of aesthetic experience. Their results have repeatedly suggested that the creation and the perception of artworks activate a set of shared brain mechanisms, especially as far as performing arts (such as music and dance) are concerned. For instance, pleasurable dance may resonate in the spectators’ brain by enhancing the activity in motor-related areas. This evidence points to the universal involvement of a motor resonance mechanism in aesthetic experience. The present chapter will initially explore the general idea of embodiment. We will then describe some studies in the field of performing arts, where the human body is the object of aesthetic stimulation and the subject of the aesthetic experience. We will also describe how embodiment is modulated by different properties of the stimuli, by the performers’ body or by the preference of the observer. Overall, we expect to provide a framework to better understand aesthetic experience from an embodiment perspective, taking into consideration the different factors that interact with these processes, especially as far as the performing arts are concerned.

Recognition of dance-like actions: Memory for static posture or dynamic movement?

Dance-like actions are complex visual stimuli involving multiple changes in body posture across time and space. Visual perception research has demonstrated a difference between the processing of dynamic body movement and the processing of static body posture. Yet, it is unclear whether this processing dissociation continues during the retention of body movement and body form in visual working memory (VWM). When observing a dance-like action, it is likely that static snapshot images of body posture will be retained alongside dynamic images of the complete motion. Therefore, we hypothesized that, as in perception, posture and movement would differ in VWM. Additionally, if body posture and body movement are separable in VWM, as form- and motion-based items, respectively, then differential interference from intervening form and motion tasks should occur during recognition. In two experiments, we examined these hypotheses. In Experiment 1, the recognition of postures and movements was tested in conditions in which the formats of the study and test stimuli matched (movement–study to movement–test, posture–study to posture–test) or mismatched (movement–study to posture–test, posture–study to movement–test). In Experiment 2, the recognition of postures and movements was compared after intervening form and motion tasks. These results indicated that (1) the recognition of body movement based only on posture is possible, but it is significantly poorer than recognition based on the entire movement stimulus, and (2) form-based interference does not impair memory for movements, although motion-based interference does. We concluded that, whereas static posture information is encoded during the observation of dance-like actions, body movement and body posture differ in VWM.

Interoceptive impairments do not lie at the heart of autism or alexithymia.

Quattrocki and Friston (2014) argued that abnormalities in interoception—the process of representing one’s internal physiological states—could lie at the heart of autism, because of the critical role interoception plays in the ontogeny of social-affective processes. This proposal drew criticism from proponents of the alexithymia hypothesis, who argue that social-affective and underlying interoceptive impairments are not a feature of autism per se, but of alexithymia (a condition characterized by difficulties describing and identifying one’s own emotions), which commonly co-occurs with autism. Despite the importance of this debate for our understanding of autism spectrum disorder (ASD), and of the role of interoceptive impairments in psychopathology, more generally, direct empirical evidence is scarce and inconsistent. Experiment 1 examined in a sample of 137 neurotypical (NT) individuals the association among autistic traits, alexithymia, and interoceptive accuracy (IA) on a standard heartbeat-tracking measure of IA. In Experiment 2, IA was assessed in 46 adults with ASD (27 of whom had clinically significant alexithymia) and 48 NT adults. Experiment 1 confirmed strong associations between autistic traits and alexithymia, but yielded no evidence to suggest that either was associated with interoceptive difficulties. Similarly, Experiment 2 provided no evidence for interoceptive impairments in autistic adults, irrespective of any co-occurring alexithymia. Bayesian analyses consistently supported the null hypothesis. The observations pose a significant challenge to notions that interoceptive impairments constitute a core feature of either ASD or alexithymia, at least as far as the direct perception of interoceptive signals is concerned.

The impact of action expertise on shared representations

Expertise in the motor domain is something we recognize almost instantaneously in other people, whether a gymnast performing a double layout with a twist, a basketball player slam dunking the ball, a SuperG skier descending a steep course at 80 mph, or a dancer executing 11 consecutive spins on one leg without stopping. While we might be able to readily recognize expertise in others, the degree to which action experts can coordinate or move their bodies in profoundly different ways to nonexperts raises intriguing questions for those interested in shared representations between self and other in our social world. Namely, how does an observer’s ability to embody an action impact how she perceives that action, and how might perception change as further experience with the observed action is acquired? In this chapter, we address these questions by considering empirical research that explores the relationship between an actor and an observer’s motor abilities, and how expertise impacts this relationship.