Research on action simulation identifies brain areas that are active while imagining or performing simple overlearned actions. Are areas engaged during imagined movement sensitive to the amount of actual physical practice? In the present study, participants were expert dancers who learned and rehearsed novel, complex whole-body dance sequences 5 h a week across 5 weeks. Brain activity was recorded weekly by fMRI as dancers observed and imagined performing different movement sequences. Half these sequences were rehearsed and half were unpracticed control movements. After each trial, participants rated how well they could perform the movement. We hypothesized that activity in premotor areas would increase as participants observed and simulated movements that they had learnt outside the scanner. Dancers' ratings of their ability to perform rehearsed sequences, but not the control sequences, increased with training. When dancers observed and simulated another dancer's movements, brain regions classically associated with both action simulation and action observation were active, including inferior parietal lobule, cingulate and supplementary motor areas, ventral premotor cortex, superior temporal sulcus and primary motor cortex. Critically, inferior parietal lobule and ventral premotor activity was modulated as a function of dancers' ratings of their own ability to perform the observed movements and their motor experience. These data demonstrate that a complex motor resonance can be built de novo over 5 weeks of rehearsal. Furthermore, activity in premotor and parietal areas during action simulation is enhanced by the ability to execute a learned action irrespective of stimulus familiarity or semantic label.

Human motor skills can be acquired by observation without the benefit of immediate physical practice. The current study tested if physical rehearsal and observational learning share common neural substrates within an action observation network (AON) including premotor and inferior parietal regions, that is, areas activated both for execution and observation of similar actions. Participants trained for 5 days on dance sequences set to music videos. Each day they physically rehearsed one set of dance sequences ("danced"), and passively watched a different set of sequences ("watched"). Functional magnetic resonance imaging was obtained prior to and immediately following the 5 days of training. After training, a subset of the AON showed a degree of common activity for observational and physical learning. Activity in these premotor and parietal regions was sustained during observation of sequences that were danced or watched, but declined for unfamiliar sequences relative to the pretraining scan session. These imaging data demonstrate the emergence of action resonance processes in the human brain based on observational learning without physical practice and identify commonalities in the neural substrates for physical and observational learning.

In response to recommendations to redefine statistical significance to p ≤ .005, we propose that researchers should transparently report and justify all choices they make when designing a study, including the alpha level.

Dance is a rich source of material for researchers interested in the integration of movement and cognition. The multiple aspects of embodied cognition involved in performing and perceiving dance have inspired scientists to use dance as a means for studying motor control, expertise, and action-perception links. The aim of this review is to present basic research on cognitive and neural processes implicated in the execution, expression, and observation of dance, and to bring into relief contemporary issues and open research questions. The review addresses six topics: 1) dancers' exemplary motor control, in terms of postural control, equilibrium maintenance, and stabilization; 2) how dancers' timing and on-line synchronization are influenced by attention demands and motor experience; 3) the critical roles played by sequence learning and memory; 4) how dancers make strategic use of visual and motor imagery; 5) the insights into the neural coupling between action and perception yielded through exploration of the brain architecture mediating dance observation; and 6) a neuroesthetics perspective that sheds new light on the way audiences perceive and evaluate dance expression. Current and emerging issues are presented regarding future directions that will facilitate the ongoing dialog between science and dance

As humans, we gather a wide range of information about other people from watching them move. A network of parietal, premotor, and occipitotemporal regions within the human brain, termed the action observation network (AON), has been implicated in understanding others' actions by means of an automatic matching process that links observed and performed actions. Current views of the AON assume a matching process biased towards familiar actions; specifically, those performed by conspecifics and present in the observer's motor repertoire. In this study, we test how this network responds to form and motion cues when observing natural human motion compared to rigid robotic-like motion across two independent functional neuroimaging experiments. In Experiment 1, we report the surprising finding that premotor, parietal, occipitotemporal regions respond more robustly to rigid, robot-like motion than natural human motion. In Experiment 2, we replicate and extend this finding by demonstrating that the same pattern of results emerges whether the agent is a human or a robot, which suggests the preferential response to robot-like motion is independent of the agent's form. These data challenge previous ideas about AON function by demonstrating that the core nodes of this network can be flexibly engaged by novel, unfamiliar actions performed by both human and non-human agents. As such, these findings suggest that the AON is sensitive to a broader range of action features beyond those that are simply familiar.

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The field of neuroaesthetics attracts attention from neuroscientists and artists interested in the neural underpinnings of esthetic experience. Though less studied than the neuroaesthetics of visual art, dance neuroaesthetics is a particularly rich subfield to explore, as it is informed not only by research on the neurobiology of aesthetics, but also by an extensive literature on how action experience shapes perception. Moreover, it is ideally suited to explore the embodied simulation account of esthetic experience, which posits that activation within sensorimotor areas of the brain, known as the action observation network (AON), is a critical element of the esthetic response. In the present study, we address how observers’ esthetic evaluation of dance is related to their perceived physical ability to reproduce the movements they watch. Participants underwent functional magnetic resonance imaging while evaluating how much they liked and how well they thought they could physically replicate a range of dance movements performed by professional ballet dancers. We used parametric analyses to evaluate brain regions that tracked with degree of liking and perceived physical ability. The findings reveal strongest activation of occipitotemporal and parietal portions of the AON when participants view movements they rate as both esthetically pleasing and difficult to reproduce. As such, these findings begin to illuminate how the embodied simulation account of esthetic experience might apply to watching dance, and provide preliminary evidence as to why some people find enjoyment in an evening at the ballet.

Abstract& When individuals acquire new skills, initial performance is typically better and tasks are judged to be easier when the tasks are segregated and practiced by block, compared to when different tasks are randomly intermixed in practice. However, subsequent skill retention is better for a randomly practiced group, an effect known as contextual interference (CI). The present study examined the neural substrates of CI using functional magnetic resonance imaging (fMRI). Individuals learned a set of three 4-element sequences with the left hand according to a block or random practice schedule. Behavioral retest for skill retention confirmed the presence of a typical CI effect with the random group outperforming the block group. Using a go/no-go fMRI paradigm, sequence preparation during the premovement study period was separated from movement execution.