A case of partial recovery after stroke and its associated brain reorganization in a chronic patient after combined brain computer interface (BCI) training and physiotherapy is presented. A multimodal neuroimaging approach based on fMRI and diffusion tensor imaging was used to investigate plasticity of the brain motor system in parallel with longitudinal clinical assessments. A convergent association between functional and structural data in the ipsilesional premotor areas was observed. As a proof of concept investigation, these results encourage further research on a specific role of BCI on brain plasticity and recovery after stroke.

Previous statistical voxelwise lesion-behavior mapping (VLBM) studies have demonstrated that spatial neglect is associated with cortical and subcortical gray matter damage. However, it has also been suggested that the disorder may result from white matter injury. Our aim was to investigate the white matter connectivity in a large sample of 140 stroke patients. We combined a VLBM approach with the histological maps of the human white matter fiber tracts provided by the Jülich probabilistic cytoarchitectonic atlas. We found that damage of right perisylvian white matter connections-the superior longitudinal fasciculus, the inferior occipitofrontal fasciculus, and the superior occipitofrontal fasciculus-is a typical finding in patients with spatial neglect. However, the analysis also revealed that the largest portion of the lesion area, namely between 89.1% and 96.6%, affected brain structures other than the perisylvian white matter fiber tracts. Predominantly, these included gray matter structures such as the superior temporal, inferior parietal, inferior frontal, and insular cortices, as well as subcortically the putamen and the caudate nucleus. Damage of gray matter structures thus appears to be a strong predictor of spatial neglect.

The capacity to distinguish between one's own and others' behavior is a cognitive prerequisite for successful joint action. We employed a musical joint action task to investigate how the brain achieves this distinction. Pianists performed the right-hand part of piano pieces, previously learned bimanually, while the complementary left-hand part either was not executed or was (believed to be) played by a co-performer. This experimental setting served to induce a co-representation of the left-hand part reflecting either the self or the co-performer. Single-pulse transcranial magnetic stimulation was applied to the right primary motor cortex and motor-evoked potentials (MEPs) were recorded from the resting left forearm. Results show that corticospinal excitability was modulated by whether the representation of the left hand was associated with the self or the other, with the MEP amplitude being low and high, respectively. This result remained unchanged in a separate session where participants could neither see nor hear the other but still infer his presence by means of contextual information. Furthermore, the amplitude of MEPs associated with co-performer presence increased with pianists' self-reported empathy. Thus, the sociality of the context modulates action attribution at the level of the motor control system.

Brain damage may induce a dysfunction of upright body position termed “pusher syndrome”. Patients with such disorder suffer from an alteration of their sense of body verticality. They experience their body as oriented upright when actually tilted nearly 20 degrees to the ipsilesional side. Pusher syndrome typically is associated with posterior thalamic stroke; less frequently with extra-thalamic lesions. This argued for a fundamental role of these structures in our control of upright body posture. Here we investigated whether such patients may show additional functional or metabolic abnormalities outside the areas of brain lesion. We investigated 19 stroke patients with thalamic or with extra-thalamic lesions showing versus not showing misperception of body orientation. We measured fluid-attenuated inversion-recovery (FLAIR) imaging, diffusion-weighted imaging (DWI), and perfusion-weighted imaging (PWI). This allowed us to determine the structural damage as well as to identify the malperfused but structural intact tissue. Pusher patients with thalamic lesions did not show dysfunctional brain areas in addition to the ones found to be structurally damaged. In the pusher patients with extra-thalamic lesions, the thalamus was neither structurally damaged nor malperfused. Rather, these patients showed small regions of abnormal perfusion in the structurally intact inferior frontal gyrus, middle temporal gyrus, inferior parietal lobule, and parietal white matter. The results indicate that these extra-thalamic brain areas contribute to the network controlling upright body posture. The data also suggest that damage of the neural tissue in the posterior thalamus itself rather than additional malperfusion in distant cortical areas is associated with pusher syndrome. Hence, it seems as if the normal functioning of both extra-thalamic as well as posterior thalamic structures is integral to perceiving gravity and controlling upright body orientation in humans.

Joint actions require the integration of simultaneous self- and other-related behaviour. Here, we investigated whether this function is underpinned by motor simulation, that is the capacity to represent a perceived action in terms of the neural resources required to execute it. This was tested in a music performance experiment wherein on-line brain stimulation (double-pulse transcranial magnetic stimulation, dTMS) was employed to interfere with motor simulation. Pianists played the right-hand part of piano pieces in synchrony with a recording of the left-hand part, which had (Trained) or had not (Untrained) been practiced beforehand. Training was assumed to enhance motor simulation. The task required adaptation to tempo changes in the left-hand part that, in critical conditions, were preceded by dTMS delivered over the right primary motor cortex. Accuracy of tempo adaptation following dTMS or sham stimulations was compared across Trained and Untrained conditions. Results indicate that dTMS impaired tempo adaptation accuracy only during the perception of trained actions. The magnitude of this interference was greater in empathic individuals possessing a strong tendency to adopt others' perspectives. These findings suggest that motor simulation provides a functional resource for the temporal coordination of one's own behaviour with others in dynamic social contexts.

Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. Because of this, social scientists and neuroscientists are turning to dance and dancers to help answer questions of how the brain coordinates the body to perform complex, precise, and beautiful movements. In the present paper, we discuss how recent advances in neuroscientific methods provide the tools to advance our understanding of not only the cerebral phenomena associated with dance learning and observation but also the neural underpinnings of aesthetic appreciation associated with watching dance. We suggest that future work within the fields of dance neuroscience and neuroaesthetics have the potential to provide mutual benefits to both the scientific and artistic communities.

In the absence of visual information, our brain is able to recognize the actions of others by representing their sounds as a motor event. Previous studies have provided evidence for a somatotopic activation of the listener's motor cortex during perception of the sound of highly familiar motor acts. The present experiments studied (a) how the motor system is activated by action-related sounds that are newly acquired and (b) whether these sounds are represented with reference to extrinsic features related to action goals rather than with respect to lower-level intrinsic parameters related to the specific movements. TMS was used to measure the correspondence between auditory and motor codes in the listener's motor system. We compared the corticomotor excitability in response to the presentation of auditory stimuli void of previous motor meaning before and after a short training period in which these stimuli were associated with voluntary actions. Novel cross-modal representations became manifest very rapidly. By disentangling the representation of the muscle from that of the action's goal, we further showed that passive listening to newly learnt action-related sounds activated a precise motor representation that depended on the variable contexts to which the individual was exposed during testing. Our results suggest that the human brain embodies a higher-order audio-visuo-motor representation of perceived actions, which is muscle-independent and corresponds to the goals of the action.

The creation of an artwork requires motor activity. To what extent is art appreciation divorced from that activity and to what extent is it linked to it? That is the question which we set out to answer. We presented participants with pointillist-style paintings featuring discernible brushstrokes and asked them to rate their liking of each canvas when it was preceded by images priming a motor act either compatible or incompatible with the simulation of the artist's movements. We show that action priming, when congruent with the artist's painting style, enhanced aesthetic preference. These results support the hypothesis that involuntary covert painting simulation contributes to aesthetic appreciation during passive observation of artwork.