TY - JOUR

T1 - Dance experience sculpts aesthetic perception and related brain circuits

AU - Kirsch, L.P.

AU - Dawson, K.

AU - Cross, E.S.

PY - 2015/3/13

Y1 - 2015/3/13

N2 - Previous research on aesthetic preferences demonstrates that people are more likely to judge a stimulus as pleasing if it is familiar. Although general familiarity and liking are related, it is less clear how motor familiarity, or embodiment, relates to a viewer's aesthetic appraisal. This study directly compared how learning to embody an action impacts the neural response when watching and aesthetically evaluating the same action. Twenty-two participants trained for 4 days on dance sequences. Each day they physically rehearsed one set of sequences, passively watched a second set, listened to the music of a third set, and a fourth set remained untrained. Functional MRI was obtained prior to and immediately following the training period, as were affective and physical ability ratings for each dance sequence. This approach enabled precise comparison of self-report methods of embodiment with nonbiased, empirical measures of action performance. Results suggest that after experience, participants most enjoy watching those dance sequences they danced or observed. Moreover, brain regions involved in mediating the aesthetic response shift from subcortical regions associated with dopaminergic reward processing to posterior temporal regions involved in processing multisensory integration, emotion, and biological motion.

AB - Previous research on aesthetic preferences demonstrates that people are more likely to judge a stimulus as pleasing if it is familiar. Although general familiarity and liking are related, it is less clear how motor familiarity, or embodiment, relates to a viewer's aesthetic appraisal. This study directly compared how learning to embody an action impacts the neural response when watching and aesthetically evaluating the same action. Twenty-two participants trained for 4 days on dance sequences. Each day they physically rehearsed one set of sequences, passively watched a second set, listened to the music of a third set, and a fourth set remained untrained. Functional MRI was obtained prior to and immediately following the training period, as were affective and physical ability ratings for each dance sequence. This approach enabled precise comparison of self-report methods of embodiment with nonbiased, empirical measures of action performance. Results suggest that after experience, participants most enjoy watching those dance sequences they danced or observed. Moreover, brain regions involved in mediating the aesthetic response shift from subcortical regions associated with dopaminergic reward processing to posterior temporal regions involved in processing multisensory integration, emotion, and biological motion.

U2 - 10.1111/nyas.12634

DO - 10.1111/nyas.12634

M3 - Article

VL - 1337

SP - 130

EP - 139

JO - Annals of the New York Academy of Sciences

JF - Annals of the New York Academy of Sciences

SN - 0077-8923

ER -