Dancers entrain more effectively than non-dancers to another actor's movements

For many everyday sensorimotor tasks, trained dancers have been found to exhibit distinct and sometimes superior (more stable or robust) patterns of behavior compared to non-dancers. Past research has demonstrated that experts in fields requiring specialized physical training and behavioral control exhibit superior interpersonal coordination capabilities for expertise-related tasks. To date, however, no published studies have compared dancers’ abilities to coordinate their movements with the movements of another individual—i.e., during a so-called visual-motor interpersonal coordination task. The current study was designed to investigate whether trained dancers would be better able to coordinate with a partner performing short sequences of dance-like movements than non-dancers. Movement time series were recorded for individual dancers and non-dancers asked to synchronize with a confederate during three different movement sequences characterized by distinct dance styles (i.e., dance team routine, contemporary ballet, mixed style) without hearing any auditory signals or music. A diverse range of linear and nonlinear analyses (i.e., Cross-correlation, Cross-Recurrence Quantification Analysis (CRQA), and Cross-Wavelet analysis) provided converging measures of coordination across multiple time scales. While overall levels of interpersonal coordination were influenced by differences in movement sequence for both groups, dancers consistently displayed higher levels of coordination with the confederate at both short and long time scales. These findings demonstrate that the visual-motor coordination capabilities of trained dancers allow them to better synchronize with other individuals performing dance-like movements than non-dancers. Further investigation of similar tasks may help to increase the understanding of visual-motor entrainment in general, as well as provide insight into the effects of focused training on visual-motor and interpersonal coordination

Entrainment and synchronization in networks of Rayleigh-van der Pol oscillators with diffusive and Haken-Kelso-Bunz couplings

We analyze a network of non-identical Rayleigh–van der Pol (RvdP) oscillators interconnected through either diffusive or nonlinear coupling functions. The work presented here extends existing results on the case of two nonlinearly coupled RvdP oscillators to the problem of considering a network of three or more of them. Specifically, we study synchronization and entrainment in networks of heterogeneous RvdP oscillators and contrast the effects of diffusive linear coupling strategies with the nonlinear Haken–Kelso–Bunz coupling, originally introduced to study human bimanual experiments. We show how convergence of the error among the nodes’ trajectories toward a bounded region is possible with both linear and nonlinear coupling functions. Under the assumption that the network is connected, simple, and undirected, analytical results are obtained to prove boundedness of the error when the oscillators are coupled diffusively. All results are illustrated by way of numerical examples and compared with the experimental findings available in the literature on synchronization of people rocking chairs, confirming the effectiveness of the model we propose to capture some of the features of human group synchronization observed experimentally in the previous literature

Visual cues in musical synchronisation

Although music performance is generally thought of as an auditory activity in the Western tradition, the presence of continuous visual information in live music contributes to the cohesiveness of music ensembles, which presents an interesting psychological phenomenon in which audio and visual cues are presumably integrated. In order to investigate how auditory and visual sensory information are combined in the basic process of synchronising movements with music, this thesis focuses on both musicians and nonmusicians as they respond to two sources of visual information common to ensembles: the conductor, and the ancillary movements (movements that do not directly create sound; e.g. body sway or head nods) of co-performers. These visual cues were hypothesized to improve the timing of intentional synchronous action (matching a musical pulse), as well as increasing the synchrony of emergent ancillary movements between participant and stimulus. The visual cues were tested in controlled renderings of ensemble music arrangements, and were derived from real, biological motion. All three experiments employed the same basic synchronisation task: participants drummed along to the pulse of tempo-changing music while observing various visual cues. For each experiment, participants’ drum timing and upper-body movements were recorded as they completed the synchronisation task. The analyses used to quantify drum timing and ancillary movements came from theoretical approaches to movement timing and entrainment: information processing and dynamical systems. Overall, this thesis shows that basic musical timing is a common ability that is facilitated by visual cues in certain contexts, and that emergent ancillary movements and intentional synchronous movements in combination may best explain musical timing and synchronisation

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer

Coordination dynamics in a socially situated nervous system

Traditional theories of cognitive science have typically accounted for the organization of human behavior by detailing requisite computational/representational functions and identifying neurological mechanisms that might perform these functions. Put simply, such approaches hold that neural activity causes behavior. This same general framework has been extended to accounts of human social behavior via concepts such as “common-coding” and “co-representation” and much recent neurological research has been devoted to brain structures that might execute these social-cognitive functions. Although these neural processes are unquestionably involved in the organization and control of human social interactions, there is good reason to question whether they should be accorded explanatory primacy. Alternatively, we propose that a full appreciation of the role of neural processes in social interactions requires appropriately situating them in their context of embodied-embedded constraints. To this end, we introduce concepts from dynamical systems theory and review research demonstrating that the organization of human behavior, including social behavior, can be accounted for in terms of self-organizing processes and lawful dynamics of animal-environment systems. Ultimately, we hope that these alternative concepts can complement the recent advances in cognitive neuroscience and thereby provide opportunities to develop a complete and coherent account of human social interaction

Walking Is Not Like Reaching: Evidence from Periodic Mechanical Perturbations

The control architecture underlying human reaching has been established, at least in broad outline. However, despite extensive research, the control architecture underlying human locomotion remains unclear. Some studies show evidence of high-level control focused on lower-limb trajectories; others suggest that nonlinear oscillators such as lower-level rhythmic central pattern generators (CPGs) play a significant role. To resolve this ambiguity, we reasoned that if a nonlinear oscillator contributes to locomotor control, human walking should exhibit dynamic entrainment to periodic mechanical perturbation; entrainment is a distinctive behavior of nonlinear oscillators. Here we present the first behavioral evidence that nonlinear neuro-mechanical oscillators contribute to the production of human walking, albeit weakly. As unimpaired human subjects walked at constant speed, we applied periodic torque pulses to the ankle at periods different from their preferred cadence. The gait period of 18 out of 19 subjects entrained to this mechanical perturbation, converging to match that of the perturbation. Significantly, entrainment occurred only if the perturbation period was close to subjects' preferred walking cadence: it exhibited a narrow basin of entrainment. Further, regardless of the phase within the walking cycle at which perturbation was initiated, subjects' gait synchronized or phase-locked with the mechanical perturbation at a phase of gait where it assisted propulsion. These results were affected neither by auditory feedback nor by a distractor task. However, the convergence to phase-locking was slow. These characteristics indicate that nonlinear neuro-mechanical oscillators make at most a modest contribution to human walking. Our results suggest that human locomotor control is not organized as in reaching to meet a predominantly kinematic specification, but is hierarchically organized with a semi-autonomous peripheral oscillator operating under episodic supervisory control.New York State Spinal Cord Injury Center of Research Excellence (contract CO19772)Massachusetts Institute of Technology. Eric P. and Evelyn E. Newman Laboratory for Biomechanics and Human RehabilitationSamsung Scholarship Foundatio

Alpha Band Signatures of Social Synchrony

Previous research has reported changes in mu rhythm, the central rhythm of the alpha frequency band, in both intentional and spontaneous interpersonal coordination. The current study was designed to extend existing findings on social synchrony to the pendulum swinging task and simultaneously measured time unfolding behavioral synchrony and EEG estimation of mu activity during spontaneous, intentional in-phase and intentional anti-phase interpersonal coordination. As expected, the behavioral measures of synchrony demonstrated the expected pattern of weak synchronization for spontaneous coordination, moderate synchronization for intentional anti-phase coordination, and strong synchronization for in-phase coordination. With respect to the EEG measures, we found evidence for mu enhancement for spontaneous coordination in contrast to mu suppression for intentional coordination (both in phase and anti-phase), with higher levels of synchronization associated with higher levels of mu suppression in the right hemisphere. The implications of the research findings and methodology for understanding the underlying mechanisms contributing to social problems in psychological disorders, leader-follower relationships, and inter-brain dynamics are discussed

Virtual Partner Interaction (VPI): Exploring Novel Behaviors via Coordination Dynamics

Inspired by the dynamic clamp of cellular neuroscience, this paper introduces VPI—Virtual Partner Interaction—a coupled dynamical system for studying real time interaction between a human and a machine. In this proof of concept study, human subjects coordinate hand movements with a virtual partner, an avatar of a hand whose movements are driven by a computerized version of the Haken-Kelso-Bunz (HKB) equations that have been shown to govern basic forms of human coordination. As a surrogate system for human social coordination, VPI allows one to examine regions of the parameter space not typically explored during live interactions. A number of novel behaviors never previously observed are uncovered and accounted for. Having its basis in an empirically derived theory of human coordination, VPI offers a principled approach to human-machine interaction and opens up new ways to understand how humans interact with human-like machines including identification of underlying neural mechanisms

Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo"

Waterhouse E, Watts R, Bläsing B. Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo". Frontiers in Human Neuroscience. 2014;8:812.Entrainment theory focuses on processes in which interacting (i.e., coupled) rhythmic systems stabilize, producing synchronization in the ideal sense, and forms of phase related rhythmic coordination in complex cases. In human action, entrainment involves spatiotemporal and social aspects, characterizing the meaningful activities of music, dance, and communication. How can the phenomenon of human entrainment be meaningfully studied in complex situations such as dance? We present an in-progress case study of entrainment in William Forsythe's choreography Duo, a duet in which coordinated rhythmic activity is achieved without an external musical beat and without touch-based interaction. Using concepts of entrainment from different disciplines as well as insight from Duo performer Riley Watts, we question definitions of entrainment in the context of dance. The functions of chorusing, turn-taking, complementary action, cues, and alignments are discussed and linked to supporting annotated video material. While Duo challenges the definition of entrainment in dance as coordinated response to an external musical or rhythmic signal, it supports the definition of entrainment as coordinated interplay of motion and sound production by active agents (i.e., dancers) in the field. Agreeing that human entrainment should be studied on multiple levels, we suggest that entrainment between the dancers in Duo is elastic in time and propose how to test this hypothesis empirically. We do not claim that our proposed model of elasticity is applicable to all forms of human entrainment nor to all examples of entrainment in dance. Rather, we suggest studying higher order phase correction (the stabilizing tendency of entrainment) as a potential aspect to be incorporated into other models

Entrainment and motor emulation approaches to joint action: alternatives or complementary approaches?

Joint actions, such as music and dance, rely crucially on the ability of two, or more, agents to align their actions with great temporal precision. Within the literature that seeks to explain how this action alignment is possible, two broad approaches have appeared. The first, what we term the entrainment approach, has sought to explain these alignment phenomena in terms of the behavioral dynamics of the system of two agents. The second, what we term the emulator approach, has sought to explain these alignment phenomena in terms of mechanisms, such as forward and inverse models, that are implemented in the brain. They have often been pitched as alternative explanations of the same phenomena; however, we argue that this view is mistaken, because, as we show, these two approaches are engaged in distinct, and not mutually exclusive, explanatory tasks. While the entrainment approach seeks to uncover the general laws that govern behavior the emulator approach seeks to uncover mechanisms. We argue that is possible to do both and that the entrainment approach must pay greater attention to the mechanisms that support the behavioral dynamics of interest. In short, the entrainment approach must be transformed into a neuroentrainment approach by adopting a mechanistic view of explanation and by seeking mechanisms that are implemented in the brain