When we observe someone performing an action, do our brains simulate making that action? Acquired motor skills offer a unique way to test this question, since people differ widely in the actions they have learned to perform. We used functional magnetic resonance imaging to study differences in brain activity between watching an action that one has learned to do and an action that one has not, in order to assess whether the brain processes of action observation are modulated by the expertise and motor repertoire of the observer. Experts in classical ballet, experts in capoeira and inexpert control subjects viewed videos of ballet or capoeira actions. Comparing the brain activity when dancers watched their own dance style versus the other style therefore reveals the influence of motor expertise on action observation. We found greater bilateral activations in premotor cortex and intraparietal sulcus, right superior parietal lobe and left posterior superior temporal sulcus when expert dancers viewed movements that they had been trained to perform compared to movements they had not. Our results show that this 'mirror system' integrates observed actions of others with an individual's personal motor repertoire, and suggest that the human brain understands actions by motor simulation.

The human brain contains specialized circuits for observing and understanding actions. Previous studies have not distinguished whether this "mirror system" uses specialized motor representations or general processes of visual inference and knowledge to understand observed actions. We report the first neuroimaging study to distinguish between these alternatives. Purely motoric influences on perception have been shown behaviorally, but their neural bases are unknown. We used fMRI to reveal the neural bases of motor influences on action observation. We controlled for visual and knowledge effects by studying expert dancers. Some ballet moves are performed by only one gender. However, male and female dancers train together and have equal visual familiarity with all moves. Male and female dancers viewed videos of gender-specific male and female ballet moves. We found greater premotor, parietal, and cerebellar activity when dancers viewed moves from their own motor repertoire, compared to opposite-gender moves that they frequently saw but did not perform. Our results show that mirror circuits have a purely motor response over and above visual representations of action. We understand actions not only by visual recognition, but also motorically. In addition, we confirm that the cerebellum is part of the action observation network.

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This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link AbstractThe field of Neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here we present the first neuroscientific study of aesthetic perception in the context of the performing arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six naïve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures.