The popularity of virtual concerts increased as a result of the social distancing requirements of the coronavirus pandemic. We aimed to examine how the characteristics of virtual concerts and the characteristics of the participants influenced their experiences of social connection and kama muta (often labeled “being moved”). We hypothesized that concert liveness and the salience of the coronavirus would influence social connection and kama muta. We collected survey responses on a variety of concert and personal characteristics from 307 participants from 13 countries across 4 continents. We operationalized social connection as a combination of feelings and behaviors and kama muta was measured using the short kama muta scale (Zickfeld et al., 2019). We found that (1) social connection and kama muta were related and predicted by empathic concern, (2) live concerts produced more social connection, but not kama muta, than pre-recorded concerts, and (3) the salience of the coronavirus during concerts predicted kama muta and this effect was completely mediated by social connection. Exploratory analyses also examined the influence of social and physical presence, motivations for concert attendance, and predictors of donations. This research contributes to the understanding of how people can connect socially and emotionally in virtual environments.

Executive functions (EFs) are cognitive functions needed for adaptive and targeted behavior. Music aptitude is the potential or capacity for musical achievement. A key element of music aptitude is audiation, defined as the process through which sound becomes music and meaning is attributed to that music. In this paper, we report on the association between audiation skills and executive skills. Not only is this important to consider the validity of the audiation tests, but also to better understand the concept of audiation and its link to cognitive skills. We conducted an empirical study, in which a sample of second grade school students from two elementary schools, one from Ghent, Belgium (N = 36) and the other from Santiago, Chile (N = 25), were administered both a musical aptitude and an attention and inhibitory control test. We hypothesized that a positive correlation exists between sustained attention, inhibitory control and music aptitude.

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Interpersonal coordination is important for many joint activities. A special case of interpersonal coordination is synchronization, which is required for the performance of many activities, but is also associated with diverse positive social and emotional attributes. The extent to which these effects are due to the reliance on synchrony for task performance or to its specific rhythmic characteristics, is not clear. To address these questions, we considered a more general form of interpersonal coordination, implemented during joint artmaking. This is a non-typical context for interpersonal coordination, not required for task success, and smoother and more loosely-structured than more standard forms of synchronous coordination. Therefore, comparing interpersonal coordination with non-coordination during shared painting, could help reveal general social-emotional reactions to coordination. To gain a more ‘naïve’ perspective we focused on children, and staged coordinated and non-coordinated art interactions between an adult and a child, asking child observers to judge various variables reflecting the perceived bond between the painters. We found an overall stronger perceived bond for the coordination condition. These results demonstrate that even a non-typical form of interpersonal coordination could be attributed with positive social and emotional qualities, a capacity revealed already in childhood, with possible implications for development.

Resumen. El presente artículo corresponde a una experiencia pedagógica implementada al interior de un programa de formación de profesores/as en artes visuales, cuyo futuro contexto de desempeño laboral son los niveles de enseñanza secundaria en el contexto escolar chileno. Su objetivo principal es reflexionar teóricamente en torno al cuerpo y sus posibilidades pedagógicas, a partir de la implementación de estrategias de enseñanza y aprendizaje de las artes visuales que involucran la practica corporal como dispositivo didáctico. Bajo una metodología de Proyectos de Aprendizaje Expresivos define tres talleres teóricos/prácticos en torno al cuerpo al interior de un programa formación de profesores/as en artes visuales en Chile. Tras la implementación de cada taller, describe la reflexión de la práctica corporal con el ámbito teórico de la política del cuerpo, la corporeización de la identidad profesional y la cognición corporeizada. A modo de conclusión, permite reflexionar en torno al tránsito de una enseñanza disciplinar de las artes visuales hacia su integración interdisciplinar, entrelazando el ámbito de las humanidades con la cognición humana corporeizada. Finalmente sugiere tres talleres interdisciplinares que entrelazan literatura, teatro y cine, a partir del lenguaje y expresión corporal para programas de formación inicial de profesores/as en artes visuales.  Palabras clave: cuerpo; artes visuales; teoría del arte; formación de docentes.  Abstract: This article is based on a pedagogical experience implemented within a visual arts teacher training program, whose future work context will be the secondary education levels in the Chilean school context. Its main objective is to theoretically reflect about the body and its pedagogical possibilities. Since the implementation of a program of visual art teaching and learning that includes the body as a didactic dispositive. Under a methodology of a Learning-Expressive Project were defined three theoretical practical workshops about the body within a visual art teachers training program in Chile. After every workshop it was described the reflection of corporal practice with the theoretical scope of the body politics, the embodiment of professional identity and embodied cognition. As a conclusion, it allows us to reflect on the transition from a disciplinary teaching of the visual arts towards its interdisciplinary integration, intertwining the field of the humanities with embodied human cognition. Finally, three interdisciplinary workshops are suggested that intertwine literature, theater and cinema, based on body language and expression for visual arts teachers initial training programs.  Keywords: body; visual arts; art theory; teachers training

Interpersonal coordination is important for many joint activities. A special case of interpersonal coordination is synchronization, which is required for the performance of many activities, but is also associated with diverse positive social and emotional attributes. The extent to which these effects are due to the reliance on synchrony for task performance or to its temporal aspects, is not clear. To address these questions, we considered a more general form of interpersonal coordination, implemented during joint artmaking. This is a non-typical context for interpersonal coordination, not required for task success, and smoother and more loosely-structured than more standard forms of synchronous coordination. Therefore, comparing interpersonal coordination with non-coordination during shared painting, could help reveal general social-emotional reactions to coordination. To gain a more ‘naïve’ perspective we focused on children, and staged coordinated and non-coordinated art interactions between an adult and a child, and asked child observers to judge various variables reflecting the perceived bond between the painters. We found an overall stronger perceived bond for the coordination condition. These results demonstrate that even a non-typical form of interpersonal coordination could be attributed with positive social and emotional qualities, a capacity revealed already in childhood, with possible implications for development.