Dance and emotion in posterior parietal cortex: A low-frequency rTMS study

Grosbras, Marie-Hélène; Tan, Haodan; Pollick, Frank E.

doi:10.1016/j.brs.2012.03.013

Cited by 29 publications

(24 citation statements)

References 42 publications

(20 reference statements)

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“…Given that dance is, par excellence, an instance of emotional bodily movement, we could expect that the neural mechanisms involved in general affective processing play an important role also while viewing dance. A recent study using repetitive transcranial magnetic stimulation (rTMS) confirmed this expectation, clearly showing that relatively long segments of dance choreography indeed elicited genuine emotional responses (Grosbras, Tan, & Pollick, 2012).…”

Section: Emotion Perception In Body and Movementmentioning

confidence: 89%

Dance as a subject for empirical aesthetics.

Christensen¹,

Calvo-Merino²

2013

Psychology of Aesthetics, Creativity, and the Arts

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This is the accepted version of the paper.This version of the publication may differ from the final published version. There may be minor differences in this draft with respect to the published version of the paper. Both authors contributed to the paper equally. Permanent repository link Dance as a subject for empirical aestheticsWe are grateful to Marcos Nadal for very useful comments and discussions on previous drafts of the paper and to dancers and choreographers (Tom Sapsford and MavinKhoo) for their help and assistance during some of the projects described throughout this paper. AbstractThe purpose of this paper is to highlight the possibilities that research on dance appreciation offers empirical aesthetics, as well as the challenges it poses. Behavioral and neuroimaging approaches have, to date, mainly focused on the perception and recognition of human body movement and structure. A small number of studies, nonetheless, have explicitly taken the basic research on the perceptual, emotional and cognitive processes engaged during movement observation, together with their neural concomitants, as a starting point to understand the aesthetic experience triggered by the observation of a dance. We provide an overview of these studies and, thereafter, point out avenues for future research on dance appreciation within the scope of empirical aesthetics. We also note some methodological and conceptual issues that should be taken into account in the design of empirical studies of the aesthetic appreciation of dance, including dance theory scholarship and humanistic approaches to dance practice.Finally, we describe how common movement features of dance styles around the world suggest that humans may be endowed with an evolved cognitive ability to appreciate and to be aesthetically moved by dance.

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Section: Emotion Perception In Body and Movementmentioning

confidence: 89%

Dance as a subject for empirical aesthetics.

Christensen¹,

Calvo-Merino²

2013

Psychology of Aesthetics, Creativity, and the Arts

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“…Thus, interfering with parietal activity may also indirectly affect activity of other more distant regions. For instance, using fMRI Grosbras et al (2012) observed that activation within a region of the right posterior parietal cortex was negatively correlated with the dynamic emotional reactions of participants while they watched a dance video (Grosbras et al 2012). In a follow-up experiment, they applied 15 min low-frequency rTMS to suppress activation in this region and found that this stimulation led to an enhancement in the subjective emotion rating of participants for specific moments in the dance.…”

Section: The Posterior Parietal Cortex: Spatial Encoding and Attentiomentioning

confidence: 99%

“…In a follow-up experiment, they applied 15 min low-frequency rTMS to suppress activation in this region and found that this stimulation led to an enhancement in the subjective emotion rating of participants for specific moments in the dance. According to Grosbras et al (2012), inhibiting the parieto-frontal executive control system appears to reduce "cognitive" analysis (such as judging the quality of movements, etc.…) of the observed dance, thereby freeing up resources for emotional processing and resulting in greater appreciation.…”

Section: The Posterior Parietal Cortex: Spatial Encoding and Attentiomentioning

confidence: 99%

Neural correlates of visual aesthetic appreciation: insights from non-invasive brain stimulation

Cattaneo

2019

Exp Brain Res

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During the last decade, non-invasive brain stimulation techniques have been increasingly employed in the field of neuroaesthetics research to shed light on the possible causal role of different brain regions contributing to aesthetic appreciation. Here, I review studies that have employed transcranial magnetic stimulation (TMS) and transcranial direct current stimulation (tDCS) to investigate neurocognitive mechanisms mediating visual aesthetic appreciation for different stimuli categories (faces, bodies, paintings). The review first considers studies that have assessed the possible causal contribution of cortical regions in mediating aesthetic appreciation along the visual ventral and dorsal pathways (i.e., the extrastriate body area, the motion-sensitive region V5/MT+ , the lateral occipital complex and the posterior parietal cortex). It then considers TMS and tDCS studies that have targeted premotor and motor regions, as well as other areas involved in body and facial expression processing (such as the superior temporal sulcus and the somatosensory cortex) to assess their role in aesthetic evaluation. Finally, it discusses studies that have targeted medial and dorsolateral prefrontal regions leading to significant changes in aesthetic appreciation for both biological stimuli (faces and bodies) and artworks. Possible mechanisms mediating stimulation effects on aesthetic judgments are discussed. A final section considers both methodological limitations of the reviewed studies (including levels of statistical power and the need for further replication) and the future potential for non-invasive brain stimulation to significantly contribute to the understanding of the neural bases of visual aesthetic experiences.

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“…Yet, the data did not allow specifying which factors in the combination of music and movement led to spectators’ increased synchronized entrainment. Second, Grosbras et al (2012) found that participants’ subjective enjoyment ratings were attributed more strongly to the synchronicity and fluidity of music and movement after disruption of the parietal cortex by means of rTMS. The authors interpret their results in line with a “freeing up” of emotional processing by inhibiting the parieto-frontal executive control system (to which they account action observation processes).…”

Section: Introductionmentioning

confidence: 99%

“…Hence, it remains unclear whether the enhanced relevance of music is due to a change in the music style or in the emotional response per se . Nevertheless, the study by Grosbras et al (2012) indicates that participants’ personality in dealing with emotional processing could act as an underlying factor in the appreciation dance performed to music.…”

Section: Introductionmentioning

confidence: 99%

“Some like it hot”: spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

Jola

Pollick

Calvo-Merino

2014

Front. Hum. Neurosci.

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Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators’ physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators’ reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences.

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Dance and emotion in posterior parietal cortex: A low-frequency rTMS study

Abstract: Background: The neural bases of emotion are most often studied using short non-

Cited by 29 publications

References 42 publications

Dance as a subject for empirical aesthetics.

Dance as a subject for empirical aesthetics.

Neural correlates of visual aesthetic appreciation: insights from non-invasive brain stimulation

“Some like it hot”: spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

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