Louise P. Kirsch

The Impact of Aesthetic Evaluation and Physical Ability on Dance Perception

The field of neuroaesthetics attracts attention from neuroscientists and artists interested in the neural underpinnings of esthetic experience. Though less studied than the neuroaesthetics of visual art, dance neuroaesthetics is a particularly rich subfield to explore, as it is informed not only by research on the neurobiology of aesthetics, but also by an extensive literature on how action experience shapes perception. Moreover, it is ideally suited to explore the embodied simulation account of esthetic experience, which posits that activation within sensorimotor areas of the brain, known as the action observation network (AON), is a critical element of the esthetic response. In the present study, we address how observers’ esthetic evaluation of dance is related to their perceived physical ability to reproduce the movements they watch. Participants underwent functional magnetic resonance imaging while evaluating how much they liked and how well they thought they could physically replicate a range of dance movements performed by professional ballet dancers. We used parametric analyses to evaluate brain regions that tracked with degree of liking and perceived physical ability. The findings reveal strongest activation of occipitotemporal and parietal portions of the AON when participants view movements they rate as both esthetically pleasing and difficult to reproduce. As such, these findings begin to illuminate how the embodied simulation account of esthetic experience might apply to watching dance, and provide preliminary evidence as to why some people find enjoyment in an evening at the ballet.

Dance experience sculpts aesthetic perception and related brain circuits

Previous research on aesthetic preferences demonstrates that people are more likely to judge a stimulus as pleasing if it is familiar. Although general familiarity and liking are related, it is less clear how motor familiarity, or embodiment, relates to a viewers aesthetic appraisal. This study directly compared how learning to embody an action impacts the neural response when watching and aesthetically evaluating the same action. Twenty‐two participants trained for 4 days on dance sequences. Each day they physically rehearsed one set of sequences, passively watched a second set, listened to the music of a third set, and a fourth set remained untrained. Functional MRI was obtained prior to and immediately following the training period, as were affective and physical ability ratings for each dance sequence. This approach enabled precise comparison of self‐report methods of embodiment with nonbiased, empirical measures of action performance. Results suggest that after experience, participants most enjoy watching those dance sequences they danced or observed. Moreover, brain regions involved in mediating the aesthetic response shift from subcortical regions associated with dopaminergic reward processing to posterior temporal regions involved in processing multisensory integration, emotion, and biological motion.

The soothing function of touch: affective touch reduces feelings of social exclusion

The mammalian need for social proximity, attachment and belonging may have an adaptive and evolutionary value in terms of survival and reproductive success. Consequently, ostracism may induce strong negative feelings of social exclusion. Recent studies suggest that slow, affective touch, which is mediated by a separate, specific C tactile neurophysiological system than faster, neutral touch, modulates the perception of physical pain. However, it remains unknown whether slow, affective touch, can also reduce feelings of social exclusion, a form of social pain. Here, we employed a social exclusion paradigm, namely the Cyberball task (N = 84), to examine whether the administration of slow, affective touch may reduce the negative feelings of ostracism induced by the social exclusion manipulations of the Cyberball task. As predicted, the provision of slow-affective, as compared to fast-neutral, touch led to a specific decrease in feelings of social exclusion, beyond general mood effects. These findings point to the soothing function of slow, affective touch, particularly in the context of social separation or rejection, and suggest a specific relation between affective touch and social bonding.

Reading the mind in the touch: Neurophysiological specificity in the communication of emotions by touch

ABSTRACT Touch is central to interpersonal interactions. Touch conveys specific emotions about the touch provider, but it is not clear whether this is a purely socially learned function or whether it has neurophysiological specificity. In two experiments with healthy participants (N = 76 and 61) and one neuropsychological single case study, we investigated whether a type of touch characterised by peripheral and central neurophysiological specificity, namely the C tactile (CT) system, can communicate specific emotions and mental states. We examined the specificity of emotions elicited by touch delivered at CT‐optimal (3 cm/s) and CT‐suboptimal (18 cm/s) velocities (Experiment 1) at different body sites which contain (forearm) vs. do not contain (palm of the hand) CT fibres (Experiment 2). Blindfolded participants were touched without any contextual cues, and were asked to identify the touch providers emotion and intention. Overall, CT‐optimal touch (slow, gentle touch on the forearm) was significantly more likely than other types of touch to convey arousal, lust or desire. Affiliative emotions such as love and related intentions such as social support were instead reliably elicited by gentle touch, irrespective of CT‐optimality, suggesting that other top‐down factors contribute to these aspects of tactile social communication. To explore the neural basis of this communication, we also tested this paradigm in a stroke patient with right perisylvian damage, including the posterior insular cortex, which is considered as the primary cortical target of CT afferents, but excluding temporal cortex involvement that has been linked to more affiliative aspects of CT‐optimal touch. His performance suggested an impairment in ‘reading’ emotions based on CT‐optimal touch. Taken together, our results suggest that the CT system can add specificity to emotional and social communication, particularly with regards to feelings of desire and arousal. On the basis of these findings, we speculate that its primary functional role may be to enhance the ‘sensual salience’ of tactile interactions. HIGHLIGHTSTouch can convey specific emotions and intentions.Slow gentle touch communicates love and intimacy regardless of CT fibre activation.The CT system plays a specific role in mediating sensual touch.Insula activation might be necessary in the arousing function of the CT system.

Time perception during apparent biological motion reflects subjective speed of movement, not objective rate of visual stimulation.

We have investigated links between biological motion perception and time perception. Participants compared the durations of two paired visual frames, inside which task-irrelevant sequences of static body postures were presented. The sequences produced apparent movements of shorter and longer path lengths, depending on the sequential order of body postures (ABC or ACB). Shorter and longer path lengths were paired with shorter and longer interstimulus intervals (ISIs) to produce path/ISI congruent sequences with intermediate subjective speeds and path/ISI incongruent sequences with slowest and fastest subjective speeds. Participants compared the duration of the visual frames surrounding these sequences; body postures and biological motion were irrelevant. The ability to discriminate the duration of the frames (as measured by the just noticeable difference, JND) was reduced for pairs of path/ISI congruent sequences as compared to pairs of path/ISI incongruent sequences. That is, duration discrimination improved when implied speed differed between the two sequences of a pair compared to when the implied speed was the same. Since stimuli showed no actual movement and were fully matched for lower-level visual input and objective stimulus durations, our findings suggest an involvement of higher-order visual or even motor areas in temporal biases during apparent biological motion perception. We show that apparent speed is the primary dimension of such percepts consistent with a dominant role of movement dynamics in the perception of other people’s actions. Our results also confirm an intimate relation between time perception and processing of human movement.

The Impact of Experience on Affective Responses during Action Observation

Perceiving others in action elicits affective and aesthetic responses in observers. The present study investigates the extent to which these responses relate to an observer’s general experience with observed movements. Facial electromyographic (EMG) responses were recorded in experienced dancers and non-dancers as they watched short videos of movements performed by professional ballet dancers. Responses were recorded from the corrugator supercilii (CS) and zygomaticus major (ZM) muscles, both of which show engagement during the observation of affect-evoking stimuli. In the first part of the experiment, participants passively watched the videos while EMG data were recorded. In the second part, they explicitly rated how much they liked each movement. Results revealed a relationship between explicit affective judgments of the movements and facial muscle activation only among those participants who were experienced with the movements. Specifically, CS activity was higher for disliked movements and ZM activity was higher for liked movements among dancers but not among non-dancers. The relationship between explicit liking ratings and EMG data in experienced observers suggests that facial muscles subtly echo affective judgments even when viewing actions that are not intentionally emotional in nature, thus underscoring the potential of EMG as a method to examine subtle shifts in implicit affective responses during action observation.

The Emotional Glue of the Senses: Affective Certainty and Congruency in the Rubber Hand Illusion

Our sense of body ownership relies on integrating different sensations according to their temporal and spatial congruency. Nevertheless, there is ongoing controversy about the role of affective congruency during multisensory integration, i.e. whether the stimuli to be perceived by the different sensory channels are congruent or incongruent in terms of their affective quality. In the present study, we applied a widely used multisensory integration paradigm, the Rubber Hand Illusion, to investigate the role of affective, top-down aspects of sensory congruency between visual and tactile modalities in the sense of body ownership. In Experiment 1 (N = 36), we touched participants with either soft or rough fabrics in their unseen hand, while they watched a rubber hand been touched synchronously with the same fabric or with a ‘hidden’ fabric of ‘uncertain roughness’. In Experiment 2 (N = 50), we used the same paradigm as in Experiment 1, but replaced the ‘uncertainty’ condition with an ‘incongruent’ one, in which participants saw the rubber hand being touched with a fabric of incongruent roughness and hence opposite valence. We found that certainty (Experiment 1) and congruency (Experiment 2) between the felt and vicariously perceived tactile affectivity led to higher subjective embodiment compared to uncertainty and incongruency, respectively, irrespective of any valence effect. Our results suggest that congruency in the affective top-down aspects of sensory stimulation is important to the multisensory integration process leading to embodiment, over and above temporal and spatial properties.

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

Understanding how action perception, embodiment, and emotion interact is essential for advancing knowledge about how we perceive and interact with each other in a social world. One tool that has proved particularly useful in the past decade for exploring the relationship between perception, action, and affect is dance. Dance is, in its essence, a rich and multisensory art form that can be used to help answer not only basic questions about social cognition but also questions concerning how aging shapes the relationship between action perception, and the role played by affect, emotion, and aesthetics in social perception. In the present study, we used a 1-week physical and visual dance training paradigm to instill varying degrees of sensorimotor experience among non-dancers from three distinct age groups (early adolescents, young adults, and older adults). Our aim was to begin to build an understanding of how aging influences the relationship between action embodiment and affective (or aesthetic) value, at both brain and behavioral levels. On balance, our results point toward a similar positive effect of sensorimotor training on aesthetic evaluations across the life span on a behavioral level, but to rather different neural substrates supporting implicit aesthetic judgment of dance movements at different life stages. Taken together, the present study contributes valuable first insights into the relationship between sensorimotor experience and affective evaluations across ages, and underscores the utility of dance as a stimulus and training intervention for addressing key questions relevant to human neuroscience as well as the arts and humanities.

Neurodevelopmental perspectives on dance learning: insights from early adolescence and young adulthood

Studies investigating human motor learning and movement perception have shown that similar sensorimotor brain regions are engaged when we observe or perform action sequences. However, the way these networks enable translation of complex observed actions into motor commands-such as in the context of dance-remains poorly understood. Emerging evidence suggests that the ability to encode specific visuospatial and kinematic movement properties encountered via different routes of sensorimotor experience may be an integral component of action learning throughout development. Using a video game-based dance training paradigm, we demonstrate that patterns of voxel activity in visual and sensorimotor brain regions when perceiving movements following training are related to the sensory modalities through which these movements were encountered during whole-body dance training. Compared to adolescents, young adults in this study demonstrated more distinctive patterns of voxel activity in visual cortices in relation to different types of sensorimotor experience. This finding suggests that cortical maturity might influence the extent to which prior sensorimotor experiences shape brain activity when watching others in action, and potentially impact how we acquire new motor skills.

Balancing body ownership: Visual capture of proprioception and affectivity during vestibular stimulation

ABSTRACT The experience of our body as our own (i.e. body ownership) involves integrating different sensory signals according to their contextual relevance (i.e. multisensory integration). Until recently, most studies of multisensory integration and body ownership concerned only vision, touch and proprioception; the role of other modalities, such as the vestibular system and interoception, has been neglected and remains poorly understood. In particular, no study to date has directly explored the combined effect of vestibular and interoceptive signals on body ownership. Here, we investigated for the first time how Galvanic Vestibular Stimulation (left, right, sham), tactile affectivity (a reclassified interoceptive modality manipulated by applying touch at C‐tactile optimal versus non‐optimal velocities), and their combination, influence proprioceptive and subjective measures of body ownership during a rubber hand illusion paradigm with healthy participants (N = 26). Our results show that vestibular stimulation (left GVS) significantly increased proprioceptive drift towards the rubber hand during mere visual exposure to the rubber hand. Moreover, it also enhanced participants’ proprioceptive drift towards the rubber hand during manipulations of synchronicity and affective touch. These findings suggest that the vestibular system influences multisensory integration, possibly by re‐weighting both the two‐way relationship between proprioception and vision, as well as the three‐way relationship between proprioception, vision and affective touch. We discuss these findings in relation to current predictive coding models of multisensory integration and body ownership. HighlightsWe studied vestibular and affective contributions to body ownership.We stimulated the vestibular system in a Rubber Hand paradigm with affective touch.Right‐hemisphere stimulation increased proprioceptive drift during vision of a RH.Applying affective touch further increased proprioceptive drift.Affective and vestibular signals may favour vision in multisensory integration.