Dance and emotion in posterior parietal cortex: a low-frequency rTMS study

Background: The neural bases of emotion are most often studied using short non-natural stimuli and assessed using correlational methods. Here we use a brain perturbation approach to make causal inferences between brain activity and emotional reaction to a long segment of dance. <p>Objective/Hypothesis: We aimed to apply offline rTMS over the brain regions involved in subjective emotional ratings to explore whether this could change the appreciation of a dance performance.</p> <p>Methods: We first used functional magnetic resonance imaging (fMRI) to identify regions correlated with fluctuating emotional rating during a 4-minutes dance performance, looking at both positive and negative correlation. Identified regions were further characterized using meta-data interrogation. Low frequency repetitive TMS was applied over the most important node in a different group of participants prior to them rating the same dance performance as in the fMRI session.</p> <p>Results: FMRI revealed a negative correlation between subjective emotional judgment and activity in the right posterior parietal cortex. This region is commonly involved in cognitive tasks and not in emotional task. Parietal rTMS had no effect on the general affective response, but it significantly (p<0.05 using exact t-statistics) enhanced the rating of the moment eliciting the highest positive judgments.</p> <p>Conclusion: These results establish a direct link between posterior parietal cortex activity and emotional reaction to dance. They can be interpreted in the framework of competition between resources allocated to emotion and resources allocated to cognitive functions. They highlight potential use of brain stimulation in neuro-æsthetic investigations.</p&gt

Audiovisual integration of emotional signals from others' social interactions

Audiovisual perception of emotions has been typically examined using displays of a solitary character (e.g., the face-voice and/or body-sound of one actor). However, in real life humans often face more complex multisensory social situations, involving more than one person. Here we ask if the audiovisual facilitation in emotion recognition previously found in simpler social situations extends to more complex and ecological situations. Stimuli consisting of the biological motion and voice of two interacting agents were used in two experiments. In Experiment 1, participants were presented with visual, auditory, auditory filtered/noisy, and audiovisual congruent and incongruent clips. We asked participants to judge whether the two agents were interacting happily or angrily. In Experiment 2, another group of participants repeated the same task, as in Experiment 1, while trying to ignore either the visual or the auditory information. The findings from both experiments indicate that when the reliability of the auditory cue was decreased participants weighted more the visual cue in their emotional judgments. This in turn translated in increased emotion recognition accuracy for the multisensory condition. Our findings thus point to a common mechanism of multisensory integration of emotional signals irrespective of social stimulus complexity

What does not happen: quantifying embodied engagement using NIMI and self-adaptors

Previous research into the quantification of embodied intellectual and emotional engagement using non-verbal movement parameters has not yielded consistent results across different studies. Our research introduces NIMI (Non-Instrumental Movement Inhibition) as an alternative parameter. We propose that the absence of certain types of possible movements can be a more holistic proxy for cognitive engagement with media (in seated persons) than searching for the presence of other movements. Rather than analyzing total movement as an indicator of engagement, our research team distinguishes between instrumental movements (i.e. physical movement serving a direct purpose in the given situation) and non-instrumental movements, and investigates them in the context of the narrative rhythm of the stimulus. We demonstrate that NIMI occurs by showing viewers’ movement levels entrained (i.e. synchronised) to the repeating narrative rhythm of a timed computer-presented quiz. Finally, we discuss the role of objective metrics of engagement in future context-aware analysis of human behaviour in audience research, interactive media and responsive system and interface design

Action-based effects on music perception

The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral processes. In contrast, embodied accounts of music cognition emphasize the central role of the close coupling of action and perception. It is a commonly established fact that perception spurs action tendencies. We present a theoretical framework that captures the ways in which the human motor system and its actions can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory, postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes. Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modeling), and vice versa, to predict the sensory outcomes of planned actions (forward modeling). Embodied accounts typically refer to inverse modeling to explain action effects on music perception (Leman, 2007). We extend this account by pinpointing forward modeling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea. Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance

Four applications of embodied cognition

This article presents the views of four sets of authors, each taking concepts of embodied cognition into problem spaces where the new paradigm can be applied. The first considers consequences of embodied cognition on the legal system. The second explores how embodied cognition can change how we interpret and interact with art and literature. The third examines how we move through archi- tectural spaces from an embodied cognition perspective. And the fourth addresses how music cogni- tion is influenced by the approach. Each contribution is brief. They are meant to suggest the potential reach of embodied cognition, increase the visibility of applications, and inspire potential avenues for research

Design Strategies for Playful Technologies to Support Light-intensity Physical Activity in the Workplace

Moderate to vigorous intensity physical activity has an established preventative role in obesity, cardiovascular disease, and diabetes. However recent evidence suggests that sitting time affects health negatively independent of whether adults meet prescribed physical activity guidelines. Since many of us spend long hours daily sitting in front of a host of electronic screens, this is cause for concern. In this paper, we describe a set of three prototype digital games created for encouraging light-intensity physical activity during short breaks at work. The design of these kinds of games is a complex process that must consider motivation strategies, interaction methodology, usability and ludic aspects. We present design guidelines for technologies that encourage physical activity in the workplace that we derived from a user evaluation using the prototypes. Although the design guidelines can be seen as general principles, we conclude that they have to be considered differently for different workplace cultures and workspaces. Our study was conducted with users who have some experience playing casual games on their mobile devices and were able and willing to increase their physical activity.Comment: 11 pages, 5 figures. Video: http://living.media.mit.edu/projects/see-saw

Backwards is the way forward: feedback in the cortical hierarchy predicts the expected future

Clark offers a powerful description of the brain as a prediction machine, which offers progress on two distinct levels. First, on an abstract conceptual level, it provides a unifying framework for perception, action, and cognition (including subdivisions such as attention, expectation, and imagination). Second, hierarchical prediction offers progress on a concrete descriptive level for testing and constraining conceptual elements and mechanisms of predictive coding models (estimation of predictions, prediction errors, and internal models)