Timing is everything: dance aesthetics depend on the complexity of movement kinematics

What constitutes a beautiful action? Research into dance aesthetics has largely focussed on subjective features like familiarity with the observed movement, but has rarely studied objective features like speed or acceleration. We manipulated the kinematic complexity of observed actions by creating dance sequences that varied in movement timing, but not in movement trajectory. Dance-naïve participants rated the dance videos on speed, effort, reproducibility, and enjoyment. Using linear mixed-effects modeling, we show that faster, more predictable movement sequences with varied velocity profiles are judged to be more effortful, less reproducible, and more aesthetically pleasing than slower sequences with more uniform velocity profiles. Accordingly, dance aesthetics depend not only on which movements are being performed but on how movements are executed and linked into sequences. The aesthetics of movement timing may apply across culturally-specific dance styles and predict both preference for and perceived difficulty of dance, consistent with information theory and effort heuristic accounts of aesthetic appreciation

Online structured dance/movement therapy reduces bodily detachment in depersonalization-derealization disorder

Background: Depersonalization-derealization disorder (DDD) is a dissociative disorder encompassing pronounced disconnections from the self and from external reality. As DDD is inherently tied to a detachment from the body, dance/movement therapy could provide an innovative treatment approach. / Materials and methods: We developed two online dance tasks to reduce detachment either by training body awareness (BA task) or enhancing the salience of bodily signals through dance exercise (DE task). Individuals with DDD (n = 31) and healthy controls (n = 29) performed both tasks individually in a cross-over design. We assessed symptom severity (Cambridge Depersonalization Scale), interoceptive awareness (Multidimensional Assessment of Interoceptive Awareness – II), mindfulness (Five Facet Mindfulness Questionnaire), and body vigilance (Body Vigilance Scale) before, during and after the tasks. / Results: At baseline, individuals with DDD exhibited elevated depersonalization-derealization symptoms alongside lower levels of interoceptive awareness and mindfulness compared to controls. Both tasks reduced symptoms in the DDD group, though dance exercise was perceived as easier. The DE task increased mindfulness in those with DDD more than the BA task, whereas controls showed the opposite pattern. In the DDD group, within-subject correlations showed that lower levels of symptoms were associated with task-specific elevations in interoceptive awareness and mindfulness. / Conclusion: Individual and structured dance/movement practice, performed at home without an instructor present, offers an effective tool to reduce symptoms in DDD and can be tailored to address specific cognitive components of a mindful engagement with the body

Aesthetic preference in the production of image sequences

Data availability statement: The raw data supporting the conclusions of this article will be made available by the authors, without undue reservation.Supplementary material: The Supplementary Material for this article can be found online at: https://www.frontiersin.org/articles/10.3389/fpsyg.2023.1165143/full#supplementary-materialIntroduction: This research uses the production method to study aesthetic preference for sequences of human body postures. In two experiments, participants produced image sequences based on their aesthetic preferences, while we measured the visual aesthetic features displayed in the compositions. Methods: In Experiment 1, participants created static image sequences based on their preferences. In Experiment 2, participants sorted images into apparent motion sequences they preferred to view. Results: In Experiment 1, good continuation of successive bodies and body-like objects was the preferred order. In Experiment 2, participants preferred abstract images with local sequential symmetry and human body postures exhibiting global sequential symmetry. Discussion: Our findings are compared to those of previous studies that employed the more widely used method of choice. Our experiments propose novel methods and conceptualizations for investigating aesthetic preferences for human body movement and other types of stimulus sequences.Fellowships awarded to EM by the Colombian Administrative Department of Science, Technology, and Innovation (Colciencias) and Universidad del Norte

Dance Across Cultures: Joint Action Aesthetics in Japan and the UK

Copyright © The Author(s) 2021. Western European and East Asian cultures show marked differences in aesthetic appreciation of the visual arts. East Asian aesthetics are often associated with a holistic focus on balance and harmony, in contrast to Western aesthetics, which often focus on the expression of the individual. In this study, we examined whether cultural differences also exist in relation to the aesthetics of dance. Japanese and British participants completed an online survey in which they evaluated synchronous and asynchronous dance video clips on eight semantic differential scales. We observed that the aesthetics of group dance depend on cultural background. Specifically, British participants preferred asynchronous over synchronous dance whereas Japanese participants equally liked synchronous and asynchronous dance movement. For both cultures, preferences were based on distinct semantic associations with movement synchrony. We argue that cultural differences in aesthetic perception of group dance relate to the culturally specific social signals conveyed by unison movement.ESRC transformative research grant (ES/M000680/2) on “Synchronous movement, cooperation, and the Performing Arts”; Colombian Administrative Department of Science, Technology and Innovation (Colciencias); Universidad del Norte

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 localization 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

Observational Learning of New Movement Sequences Is Reflected in Fronto-Parietal Coherence

Mankind is unique in her ability for observational learning, i.e. the transmission of acquired knowledge and behavioral repertoire through observation of others' actions. In the present study we used electrophysiological measures to investigate brain mechanisms of observational learning. Analysis investigated the possible functional coupling between occipital (alpha) and motor (mu) rhythms operating in the 10Hz frequency range for translating “seeing” into “doing”. Subjects observed movement sequences consisting of six consecutive left or right hand button presses directed at one of two target-buttons for subsequent imitation. Each movement sequence was presented four times, intervened by short pause intervals for sequence rehearsal. During a control task subjects observed the same movement sequences without a requirement for subsequent reproduction. Although both alpha and mu rhythms desynchronized during the imitation task relative to the control task, modulations in alpha and mu power were found to be largely independent from each other over time, arguing against a functional coupling of alpha and mu generators during observational learning. This independence was furthermore reflected in the absence of coherence between occipital and motor electrodes overlaying alpha and mu generators. Instead, coherence analysis revealed a pair of symmetric fronto-parietal networks, one over the left and one over the right hemisphere, reflecting stronger coherence during observation of movements than during pauses. Individual differences in fronto-parietal coherence were furthermore found to predict imitation accuracy. The properties of these networks, i.e. their fronto-parietal distribution, their ipsilateral organization and their sensitivity to the observation of movements, match closely with the known properties of the mirror neuron system (MNS) as studied in the macaque brain. These results indicate a functional dissociation between higher order areas for observational learning (i.e. parts of the MNS as reflected in 10Hz coherence measures) and peripheral structures (i.e. lateral occipital gyrus for alpha; central sulcus for mu) that provide low-level support for observation and motor imagery of action sequences

Time course and specificity of sensory-motor alpha modulation during the observation of hand motor acts and gestures: a high density EEG study

The main aim of the present study was to explore, by means of high-density EEG, the intensity and the temporal pattern of event-related sensory-motor alpha desynchronization (ERD) during the observation of different types of hand motor acts and gestures. In particular, we aimed to investigate whether the sensory-motor ERD would show a specific modulation during the observation of hand behaviors differing for goal-relatedness (hand grasping of an object and meaningless hand movements) and social relevance (communicative hand gestures and grasping within a social context). Time course analysis of alpha suppression showed that all types of hand behaviors were effective in triggering sensory-motor alpha ERD, but to a different degree depending on the category of observed hand motor acts and gestures. Meaningless gestures and hand grasping were the most effective stimuli, resulting in the strongest ERD. The observation of social hand behaviors such as social grasping and communicative gestures, triggered a more dynamic time course of ERD compared to that driven by the observation of simple grasping and meaningless gestures. These findings indicate that the observation of hand motor acts and gestures evoke the activation of a motor resonance mechanism that differs on the basis of the goal-relatedness and the social relevance of the observed hand behavior

Towards a neurocognitive approach to Dance Movement Therapy for mental health: A systematic review

Dance/Movement Therapy (DMT) has become an increasingly recognized and used treatment, though primarily used to target psychological and physical wellbeing in individuals with physical, medical, or neurological illnesses. To contribute to the relative lack of literature within the field of DMT for clinical mental health disorders, using a narrative synthesis, we review the scope of recent, controlled studies of DMT in samples with different psychiatric disorders including depression, schizophrenia, autism, and somatoform disorder. A systematic search of electronic databases (PubMed, Science Direct, World of Science, and Clinicaltrials.gov) was conducted to identify studies examining the effects of DMT in psychiatric populations. 15 studies were eligible for inclusion. After reviewing the principal results of the studies, we highlight strengths and weaknesses of this treatment approach and examine the potential efficacy of using bodily movements as a tool to reduce symptoms. We conclude by placing DMT within the context of contemporary cognitive neuroscience research, drawing out implications of such an orientation for future research, and discussing potential mechanisms by which DMT might reduce psychiatric symptoms. DMT has clear potential as a treatment for a range of conditions and symptoms and thus further research on its utility is warranted

Joint action aesthetics

Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers’ movements, and the spectators’ affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators’ heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance–and perhaps all performing arts–in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts