Emotional Temperament and Character Dimensions and State Anger as Predictors of Preference for Rap Music in Italian Population.

The objective of the current work was to examine the relationships between affective temperaments dimensions, trait anger, and the preference for rap music in a sample of Italian adults. An online survey was administered to 662 subjects. We assessed preference for rap music using a Likert scale. Ina addition, we investigated the sample' affective temperament traits using the Memphis, Pisa, Paris, and San Diego (TEMPS-A) short scale and the trait anger by using the Trait Anger component of the State Trait Anger Expression Inventory 2 (STAXI-2). Multiple linear regression indicated that cyclothymic temperament score, hyperthymic temperament score, and trait anger scores were positive predictors while older age, and depressive temperament and higher education score were negative predictors of preference for rap music. The results expand previous literature on personality and music preference indicating the association of high energy/high activity temperaments and trait anger to preference for rap music.

Motor Cortex Response to Pleasant Odor Perception and Imagery: The Differential Role of Personality Dimensions and Imagery Ability.

Background: Neuroimaging studies have shown a complex pattern of brain activation during perception of a pleasant odor and during its olfactory imagery. To date, little is known regarding changes in motor cortex excitability during these tasks. Bergamot essential oil (BEO) is extensively used in perfumes and cosmetics for its pleasantness. Therefore, to further our understanding of the human sense of smell, this study aimed to investigate the effect of perception and imagery of a pleasant odor (BEO) on motor cortex using Transcranial magnetic stimulation (TMS). Materials and Methods: We examined the primary motor cortex (M1) excitability during perception of a pleasant odor (BEO) or perception of odorless saline (experiment 1). Furthermore, we tested the effect of olfactory imagery (OI) of BEO on corticospinal excitability (experiment 2). The increase in motor evoked potential (MEP) amplitude was correlated with personality dimensions scores, pleasantness, vividness, and general imagery ability. Results: The results indicate that the corticospinal excitability changed after both perception and imagery of a pleasant odor (BEO). The correlation analysis shows an association with neuroticism personality trait (experiment 1) and with general olfactory imagery ability (experiment 2). Conclusion: Both perception of a pleasant odor and its olfactory imagery modulate motor cortex excitability. The enhanced brain activation is affected by specific individual characteristics. Overall, our findings provide physiological evidence for a complex interaction between the olfactory and motor systems.

Uncertainty-based overestimation in the perception of group actions.

Individuals are adept at estimating average properties of group visual stimuli, even following brief presentations. In estimating the directional heading of walking human figures, judgments are biased in a peculiar manner: groups facing intermediate directions are perceived to be more leftward- or rightward-facing than actual averages. This effect was previously explained as a repulsive bias away from a central category boundary; groups along this boundary (directly facing the observer) are estimated with lower variability and with relatively greater accuracy. Here we show that: (i) the original effect replicates and is constant over time in a novel estimation task with persistent directional states; and, (ii) novel patterns of response variability and durations align with the entire range of overestimation. A simple model of additive errors proportional to viewer uncertainty matches the observed bias magnitudes. We furthermore show that the bias generalizes beyond approaching walkers with the use of rearward-facing walkers presented at a nonparallel angle. Overall, the recurring relation between bias and uncertainty is also consistent with top-down and post-perceptual causes of misestimation.

Cognitive framing modulates emotional processing through dorsolateral prefrontal cortex and ventrolateral prefrontal cortex networks: A functional magnetic resonance imaging study.

INTRODUCTION: In this study, we show new evidence for the role of ventrolateral prefrontal cortex-dorsolateral prefrontal cortex (VLPFC-DLPFC) networks in the cognitive framing of emotional processing. METHOD: We displayed neutral and aversive images described as having been sourced from artistic material to one cohort of subjects (i.e., the art-frame group; n = 19), while identical images, this time identified as having been sourced from documentary material (i.e., the doc-frame group; n = 20) were shown to a separate cohort. RESULTS: Using functional magnetic resonance imaging (fMRI), we employed a linear parametric model showing that relative to the doc-frame group the art-frame group exhibited a modulation of amygdala activity in response to aversive images. The attenuated amygdala activity in the art-frame group supported our hypothesis that reduced amygdala activity was driven by top-down DLPFC inhibition of limbic responses. A psychophysiological interaction (PPI) analysis demonstrated that VLPFC activity correlated with amygdala activity in the art-frame group, but not in the doc-frame group for the contrast [Aversive > Neutral]. CONCLUSION: The role of the VLPFC in cognitive control suggests the hypothesis that it alongside DLPFC insulates against embodied emotional responses by inhibiting automatic affective responses.

Speed of person perception affects immediate and ongoing aesthetic evaluation.

Recent studies have shed light on how aesthetic judgments are formed following presentations lasting less than a second. Meanwhile, dedicated neural mechanisms are understood to enable the rapid detection of human faces, bodies, and actions. On the basis of cognitive studies of: (i) the speed and acuity of person perception, and (ii) preferential attention given to human imagery (e.g., faces and bodies), we hypothesize that the visual detection of humans in portraits increases the magnitude and stability (i.e., similarity to later responses) of aesthetic ratings. Ease of person perception is also expected to elicit longer durations of preferential viewing time, a surplus measure of viewing behavior that should be positively related to subsequent ratings. To test these ideas, we use a set of cubist portraits previously established to be more or less categorizable in terms of the aggregate time required to perceive the depicted person. Using these images, we track aesthetic judgments made following short and unconstrained presentations; in an intervening task, we measure viewing behavior when subjects are able to selectively reveal regions of these images. We find that highly categorizable artworks (those that require less time to identify the figure as human) elicit higher and more predictive aesthetic ratings following 30 ms presentations while also eliciting longer viewing durations. Changes in ratings throughout the task are positively correlated with cumulative viewing time; critically, an image's categorizability level further moderates the strength of this relationship. These results demonstrate that a particular kind of visual object recognition - the recognition of human forms - modulates aesthetic preferences at a glance, subsequent viewing patterns, as well as rating changes over time.

Continuous aesthetic judgment of image sequences.

Perceptual judgments are said to be reference-dependent as they change on the basis of recent experiences. Here we quantify sequence effects within two types of aesthetic judgments: (i) individual ratings of single images (during self-paced trials) and (ii) continuous ratings of image sequences. As in the case of known contrast effects, trial-by-trial aesthetic responses are negatively correlated with judgments made toward the preceding image. During continuous judgment, a different type of bias is observed. The onset of change within a sequence introduces a persistent increase in ratings (relative to when the same images are judged in isolation). Furthermore, subjects indicate adjustment patterns and choices that selectively favor sequences that are rich in change. Sequence effects in aesthetic judgments thus differ greatly depending on the continuity and arrangement of presented stimuli. The effects highlighted here are important in understanding sustained aesthetic responses over time, such as those elicited during choreographic and musical arrangements. In contrast, standard measurements of aesthetic responses (over trials) may represent a series of distinct aesthetic experiences (e.g., viewing artworks in a museum).

Motor facilitation during observation of implied motion: Evidence for a role of the left dorsolateral prefrontal cortex.

The phenomenon of motor resonance (the increase in motor cortex excitability during observation of actions) has been previously described. Transcranial magnetic stimulation (TMS) studies have demonstrated a similar effect during perception of implied motion (IM). The left dorsolateral prefrontal cortex (DLPFC) seems to be activated during action observation. Furthermore, the role of this brain area in motor resonance to IM is yet to be investigated. Fourteen healthy volunteers were enrolled into the study. We used transcranial direct current stimulation (tDCS) to stimulate DLPFC aiming to investigate whether stimulation with different polarities would affect the amplitude of motor evoked potential collected during observation of images with and without IM. The results of our experiment indicated that Cathodal tDCS over the left DLPFC prevented motor resonance during observation of IM. On the contrary, anodal and sham tDCS did not significantly modulate motor resonance to IM. The current study expands the understanding of the neural circuits engaged during observation of IM. Our results are consistent with the hypothesis that action understanding requires the interaction of large networks and that the left DLPFC plays a crucial role in generating motor resonance to IM.

Observation of implied motion in a work of art modulates cortical connectivity and plasticity.

Following the discovery of mirror neurons, much attention has been de-voted to understanding the neural responses evoked by observation of implied motion in works of art. Neuroimaging studies have demonstrated that dorsal premotor cortex (PMd) is commonly involved during observation of movements but the role of the inhibitory and excitatory connections between PMd and primary motor cortex (M1) during observation of implied motion remains uncertain. In this study, using high and low frequency repetitive transcranial magnetic stimulation (rTMS), we examined PMd-M1 connectivity and plasticity during observation of Michelangelo's frescos with and without implied motion (Sistine Chapel, 1508-1512). We found that observation of implied motion in a painting specifically reduces the activity of inhibitory PMd-M1 connections. On the contrary PMd-M1 facilitatory connections, as examined by means of 5-Hz rTMS, were not modulated during observation of the painting. Our data suggest that observation of implied motion in a painting modulates PMd-M1 connectivity and plasticity. These results are consistent with the hypothesis that art with implied motion might be used as a plasticity-based intervention in rehabilitation.

Neural circuits underlying motor facilitation during observation of implied motion.

In the present study we used single and paired-pulse Transcranial Magnetic Stimulation (TMS) to evaluate the effect of implied motion on primary motor cortex microcircuits. We found that observation of the implied motion of a static image increases MEP amplitude and reduces short-interval intracortical inhibition (SICI), without significant modulation of intracortical facilitation and sensory-motor integration. Our results add to the existing literature on the activation of the observation-execution matching system and describe a selective modulation of GABAergic cortical microcircuits during observation of implied motion.

ERP modulation during observation of abstract paintings by Franz Kline.

The aim of this study was to test the involvement of sensorimotor cortical circuits during the beholding of the static consequences of hand gestures devoid of any meaning.In order to verify this hypothesis we performed an EEG experiment presenting to participants images of abstract works of art with marked traces of brushstrokes. The EEG data were analyzed by using Event Related Potentials (ERPs). We aimed to demonstrate a direct involvement of sensorimotor cortical circuits during the beholding of these selected works of abstract art. The stimuli consisted of three different abstract black and white paintings by Franz Kline. Results verified our experimental hypothesis showing the activation of premotor and motor cortical areas during stimuli observation. In addition, abstract works of art observation elicited the activation of reward-related orbitofrontal areas, and cognitive categorization-related prefrontal areas. The cortical sensorimotor activation is a fundamental neurophysiological demonstration of the direct involvement of the cortical motor system in perception of static meaningless images belonging to abstract art. These results support the role of embodied simulation of artist's gestures in the perception of works of art.

Abstract art and cortical motor activation: an EEG study.

The role of the motor system in the perception of visual art remains to be better understood. Earlier studies on the visual perception of abstract art (from Gestalt theory, as in Arnheim, 1954 and 1988, to balance preference studies as in Locher and Stappers, 2002, and more recent work by Locher et al., 2007; Redies, 2007, and Taylor et al., 2011), neglected the question, while the field of neuroesthetics (Ramachandran and Hirstein, 1999; Zeki, 1999) mostly concentrated on figurative works. Much recent work has demonstrated the multimodality of vision, encompassing the activation of motor, somatosensory, and viscero-motor brain regions. The present study investigated whether the observation of high-resolution digitized static images of abstract paintings by Lucio Fontana is associated with specific cortical motor activation in the beholder's brain. Mu rhythm suppression was evoked by the observation of original art works but not by control stimuli (as in the case of graphically modified versions of these works). Most interestingly, previous visual exposure to the stimuli did not affect the mu rhythm suppression induced by their observation. The present results clearly show the involvement of the cortical motor system in the viewing of static abstract art works.

When art moves the eyes: a behavioral and eye-tracking study.

The aim of this study was to investigate, using eye-tracking technique, the influence of bottom-up and top-down processes on visual behavior while subjects, naïve to art criticism, were presented with representational paintings. Forty-two subjects viewed color and black and white paintings (Color) categorized as dynamic or static (Dynamism) (bottom-up processes). Half of the images represented natural environments and half human subjects (Content); all stimuli were displayed under aesthetic and movement judgment conditions (Task) (top-down processes). Results on gazing behavior showed that content-related top-down processes prevailed over low-level visually-driven bottom-up processes when a human subject is represented in the painting. On the contrary, bottom-up processes, mediated by low-level visual features, particularly affected gazing behavior when looking at nature-content images. We discuss our results proposing a reconsideration of the definition of content-related top-down processes in accordance with the concept of embodied simulation in art perception.

Corticomotor Excitability during Observation and Imagination of a Work of Art.

We examine the effects of the artistic representation - here exemplified by Michelangelo's Expulsion from Paradise - of an action on the motor system. Using single and paired- pulse transcranial magnetic stimulation we analyze corticomotor excitability during observation of an action in the painting, during imagery of the painting, and during observation of a photograph of the same pose. We also analyze the effects of observation of two further paintings, one showing the same muscles at rest, and in the other in a more overtly emotional context. Both observation of the Expulsion and of imagery of the painting increased cortical excitability. Neither the relaxed pose of Michelangelo's Creation nor the flexed posture in the highly emotional context of Bellini's Dead Christ increased cortical excitability. Observation of a photograph of the same extended pose did not increase cortical excitability either. Moreover, intracortical inhibition was reduced during imagery of the painting. Our results offer clear motor correlates of the relationship between the esthetic quality of a work and the perception of implied movement within it.

Motion, emotion and empathy in esthetic experience.

The implications of the discovery of mirroring mechanisms and embodied simulation for empathetic responses to images in general, and to works of visual art in particular, have not yet been assessed. Here, we address this issue and we challenge the primacy of cognition in responses to art. We propose that a crucial element of esthetic response consists of the activation of embodied mechanisms encompassing the simulation of actions, emotions and corporeal sensation, and that these mechanisms are universal. This basic level of reaction to images is essential to understanding the effectiveness both of everyday images and of works of art. Historical, cultural and other contextual factors do not preclude the importance of considering the neural processes that arise in the empathetic understanding of visual artworks.