“Some like it hot”:spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators’ physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators’ reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences

Knowing dance or knowing how to dance? Sources of expertise in aesthetic appreciation of human movement.

The study of human movement and action has become a topic of increasing relevance over the last decade, bringing dance into the focus of the cognitive sciences. The Neurocognition of Dance brings together contributors from the worlds of psychology and dance, and discusses the relationship between dance and perception. Fully updated throughout, this edition introduces scientific perspectives on human movement, before dance professionals considering how their creative work relates to cognition and learning. Finally, researchers with personal links to the dance world demonstrate how neurocognitive methods are applied to studying different aspects related to dance

The somatotopy of observed emotions

The ability to experience others’ emotional states is a key component in social interactions. Uniquely among sensorimotor regions, the somatosensory cortex (SCx) plays an especially important role in human emotion understanding. While distinct emotions are experienced in specific parts of the body, it remains unknown whether the SCx exhibits somatotopic activations to different emotional expressions. In the current study, we investigated if the affective response triggered by observing others’ emotional face expressions leads to differential activations in SCx. Participants performed a visual facial emotion discrimination task while we measured changes in SCx topographic EEG activity by tactually stimulating two body-parts representative of the upper and lower limbs, the finger and the toe respectively. The results of the study showed an emotion specific response in the finger SCx when observing angry as opposed to sad emotional expressions, after controlling for carry-over effects of visual evoked activity. This dissociation to observed emotions was not present in toe somatosensory responses. Our results suggest that somatotopic activations of the SCx to discrete emotions might play a crucial role in understanding others’ emotions

Behavioral/Systems/Cognitive 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

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. While some ballet moves are performed by only one gender, male and female dancers train together and acquire visual knowledge of all ballet moves. 24 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, while 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, while 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 visual experience. Our results are consistent with a specific motor contribution to configural processing of action

Points in Mental Space: an Interdisciplinary Study of Imagery in Movement Creation

As part of a programme of research that is developing tools to enhance choreographic practice, an interdisciplinary team of cognitive scientists, neuroscientists and dance professionals collaborated on two studies examining the mental representations used to support movement creation. We studied choreographer Wayne McGregor’s approach to movement creation through tasking, in which he asks dancers to create movement in response to task instructions that require a great deal of mental imagery and decision making. In our first experiment, we used experience sampling methods (self-report scales and reports about the current focus of thought) with the full company of Wayne McGregor | Random Dance to describe what the dancers report thinking about while creating movement, and to establish how their experiences change as a function of different task conditions. In particular, we contrasted a conventional ‘active’ condition (where dancers are free to move around) with a ‘static’ condition (where they have to create movement mentally, without moving), because all neuroimaging studies of dance require participants to lie motionless within a scanner. We adapted the static mode from Experiment 1 for the neuroimaging session in Experiment 2. Here we recorded the brain activity of an experienced dancer from Wayne McGregor | Random Dance while she mentally undertook movement creation tasks similar to those used in our experience sampling experiment. Both studies involved imagery tasks of a primarily spatial-praxic nature (involving an imagined object or volume that could be approached and manipulated) and imagery that focused on content invoking emotional narratives. In the first study, the dancers’ awareness was focused more than they had anticipated upon conceptual rather than physical or bodily aspects. The very act of reflecting on, and categorising, their experiences provided the dancers with insights about their mental habits during innovative movement creation. Such insights provide conditions under which habits can be recognised and then altered to adopt alternative points in mental space from which to create movement material. Providing the dancers and McGregor with a means to communicate more productively about the properties of the task-based instructions has been acknowledged by the company to be of clear benefit and a useful addition to their working process. In the second study we assessed the feasibility of using fMRI to study the neural underpinnings of choreographing movement tasks. The experiment enabled us to compare brain activity in imagery and movement creation. The data raise some key questions Points in Mental Space 3 concerning the mental context in which such thinking occurs and, given the clear limitations of the current fMRI and experience sampling work, how future research might usefully be directed. Taken together, these two exploratory studies indicate that the experiential and neural attributes of imagery during movement creation are open to systematic investigation: innovative movement creation can start from alternative points in mental, as well as physical, space. This enables us to look forward to establishing with greater precision how tasks that challenge dancers in different ways may affect mental and neural processes and how variation in imagery use across dancers might contribute to the variety of movement creation that they produce. Notably, the act of reflecting on the experience of movement creation also offers some practical leverage to help dancers develop a wider range of strategies for innovation. These findings are being used to contribute to further work informing the development of personal, notebook-like, Choreographic Thinking Tools

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

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

Oral fosfomycin for the treatment of lower urinary tract infections among kidney transplant recipients—Results of a Spanish multicenter cohort

Preliminary results of this study were presented at the 29th European Congress of Clinical Microbiology and Infectious Diseases (ECCMID), held in Amsterdam, The Netherlands, from 13 to 16 April, 2019 (oral communication O‐0699).Oral fosfomycin may constitute an alternative for the treatment of lower urinary tract infections (UTIs) in kidney transplant recipients (KTRs), particularly in view of recent safety concerns with fluroquinolones. Specific data on the efficacy and safety of fosfomycin in KTR are scarce. We performed a retrospective study in 14 Spanish hospitals including KTRs treated with oral fosfomycin (calcium and trometamol salts) for posttransplant cystitis between January 2005 and December 2017. A total of 133 KTRs developed 143 episodes of cystitis. Most episodes (131 [91.6%]) were produced by gram‐negative bacilli (GNB), and 78 (54.5%) were categorized as multidrug resistant (including extended‐spectrum β‐lactamase‐producing Enterobacteriaceae [14%] or carbapenem‐resistant GNB [3.5%]). A median daily dose of 1.5 g of fosfomycin (interquartile range [IQR]: 1.5‐2) was administered for a median of 7 days (IQR: 3‐10). Clinical cure (remission of UTI‐attributable symptoms at the end of therapy) was achieved in 83.9% (120/143) episodes. Among those episodes with follow‐up urine culture, microbiological cure at month 1 was achieved in 70.2% (59/84) episodes. Percutaneous nephrostomy was associated with a lower probability of clinical cure (adjusted odds ratio: 10.50; 95% confidence interval: 0.98‐112.29; P = 0.052). In conclusion, fosfomycin is an effective orally available alternative for treating cystitis among KTRs.This study was supported by Plan Nacional de I+D+i 2013‐2016 and Instituto de Salud Carlos III, Subdirección General de Redes y Centros de Investigación Cooperativa, Ministerio de Ciencia, Innovación y Universidades, Spanish Network for Research in Infectious Diseases (REIPI RD16/0016)—cofinanced by the European Development Regional Fund “A way to achieve Europe”; the Group for Study of Infection in Transplantation and the Immunocompromised Host (GESITRA‐IC) of the Spanish Society of Clinical Microbiology and Infectious Diseases (SEIMC); and the Spanish Network for Research in Renal Diseases (REDInREN RD16/0009). MFR holds a research contract “Miguel Servet” (CP 18/00073) from the Spanish Ministry of Science, Innovation and Universities, Instituto de Salud Carlos III