EEG Frequency Tagging Reveals the Integration of Form and Motion Cues into the Perception of Group Movement.

The human brain has dedicated mechanisms for processing other people's movements. Previous research has revealed how these mechanisms contribute to perceiving the movements of individuals but has left open how we perceive groups of people moving together. Across three experiments, we test whether movement perception depends on the spatiotemporal relationships among the movements of multiple agents. In Experiment 1, we combine EEG frequency tagging with apparent human motion and show that posture and movement perception can be dissociated at harmonically related frequencies of stimulus presentation. We then show that movement but not posture processing is enhanced when observing multiple agents move in synchrony. Movement processing was strongest for fluently moving synchronous groups (Experiment 2) and was perturbed by inversion (Experiment 3). Our findings suggest that processing group movement relies on binding body postures into movements and individual movements into groups. Enhanced perceptual processing of movement synchrony may form the basis for higher order social phenomena such as group alignment and its social consequences.

Dancing robots: Social interactions are performed, not depicted.

Clark and Fischer's depiction hypothesis is based on examples of western mimetic art. Yet social robots do not depict social interactions, but instead perform them. Similarly, dance and performance art do not rely on depiction. Kinematics and expressivity are better predictors of dance aesthetics and of effective social interactions. In this way, social robots are more like dancers than actors.

Symptom variability in depersonalization-derealization disorder: A latent profile analysis.

OBJECTIVE: Depersonalization-derealization disorder (DDD) is characterized by diverse symptomatology overlapping with anxiety and dissociative disorders, but the sources of this variability are poorly understood. This study aims to determine whether symptom heterogeneity is attributable to the presence of latent subgroups. METHOD: We applied latent profile analysis to psychometric measures of anxiety, depersonalization-derealization, and dissociation in 303 DDD patients. RESULTS: The analysis yielded evidence for five discrete subgroups: three of varying severity levels and two moderate-to-severe classes characterized by differential dissociative symptoms. The five classes reliably differed on several nondissociative symptoms, comorbidities, and factors precipitating their diagnosis but did not significantly differ in other symptoms including anxiety. CONCLUSION: These results suggest the presence of three distinct DDD subtypes in the upper severity range that are distinguished by differential expression of detachment and compartmentalization symptoms. Further elucidation of these subtypes has potential implications for the etiology, mechanisms, and treatment of DDD.

Towards a neurocognitive approach to dance movement therapy for mental health: A systematic review.

Dance movement therapy (DMT) has become an increasingly recognized and used treatment, though primarily used to target psychological and physical well-being in individuals with physical, medical or neurological illnesses. To contribute to the relative lack of literature within the field of DMT for clinical mental health disorders, using a narrative synthesis, we review the scope of recent, controlled studies of DMT in samples with different psychiatric disorders including depression, schizophrenia, autism and somatoform disorder. A systematic search of electronic databases (PubMed, Science Direct, World of Science and Clinicaltrials.gov) was conducted to identify studies examining the effects of DMT in psychiatric populations. Fifteen studies were eligible for inclusion. After reviewing the principal results of the studies, we highlight strengths and weaknesses of this treatment approach and examine the potential efficacy of using bodily movements as a tool to reduce symptoms. We conclude by placing DMT within the context of contemporary cognitive neuroscience research, drawing out implications of such an orientation for future research and discussing potential mechanisms by which DMT might reduce psychiatric symptoms. DMT has clear potential as a treatment for a range of conditions and symptoms, and thus, further research on its utility is warranted.

Effects of auditory distraction on voluntary movements: exploring the underlying mechanisms associated with parallel processing.

Highly demanding cognitive-motor tasks can be negatively influenced by the presence of auditory stimuli. The human brain attempts to partially suppress the processing of potential distractors in order that motor tasks can be completed successfully. The present study sought to further understand the attentional neural systems that activate in response to potential distractors during the execution of movements. Nineteen participants (9 women and 10 men) were administered isometric ankle-dorsiflexion tasks for 10 s at a light intensity. Electroencephalography was used to assess the electrical activity in the brain, and a music excerpt was used to distract participants. Three conditions were administered: auditory distraction during the execution of movement (auditory distraction; AD), movement execution in the absence of auditory distraction (control; CO), and auditory distraction in the absence of movement (stimulus-only; SO). AD was compared with SO to identify the mechanisms underlying the attentional processing associated with attentional shifts from internal association (task-related) to external (task-unrelated) sensory cues. The results of the present study indicated that the EMG amplitude was not compromised when the auditory stimulus was administered. Accordingly, EEG activity was upregulated at 0.368 s in AD when compared to SO. Source reconstruction analysis indicated that right and central parietal regions of the cortex activated at 0.368 s in order to reduce the processing of task-irrelevant stimuli during the execution of movements. The brain mechanisms that underlie the control of potential distractors during exercise were possibly associated with the activity of the frontoparietal network.

Constructing Visual Perception of Body Movement with the Motor Cortex.

The human brain readily perceives fluent movement from static input. Using functional magnetic resonance imaging, we investigated brain mechanisms that mediate fluent apparent biological motion (ABM) perception from sequences of body postures. We presented body and nonbody stimuli varying in objective sequence duration and fluency of apparent movement. Three body postures were ordered to produce a fluent (ABC) or a nonfluent (ACB) apparent movement. This enabled us to identify brain areas involved in the perceptual reconstruction of body movement from identical lower-level static input. Participants judged the duration of a rectangle containing body/nonbody sequences, as an implicit measure of movement fluency. For body stimuli, fluent apparent motion sequences produced subjectively longer durations than nonfluent sequences of the same objective duration. This difference was reduced for nonbody stimuli. This body-specific bias in duration perception was associated with increased blood oxygen level-dependent responses in the primary (M1) and supplementary motor areas. Moreover, fluent ABM was associated with increased functional connectivity between M1/SMA and right fusiform body area. We show that perceptual reconstruction of fluent movement from static body postures does not merely enlist areas traditionally associated with visual body processing, but involves cooperative recruitment of motor areas, consistent with a "motor way of seeing".

Top-down biological motion perception does not differ between adults scoring high versus low on autism traits.

The perception of biological motion is an important social cognitive ability. Models of biological motion perception recognize two processes that contribute to the perception of biological motion: a bottom-up process that binds optic-flow patterns into a coherent percept of biological motion and a top-down process that binds sequences of body-posture 'snapshots' over time into a fluent percept of biological motion. The vast majority of studies on autism and biological motion perception have used point-light figure stimuli, which elicit biological motion perception predominantly via bottom-up processes. Here, we investigated whether autism is associated with deviances in the top-down processing of biological motion. For this, we tested a sample of adults scoring low vs high on autism traits on a recently validated EEG paradigm in which apparent biological motion is combined with frequency tagging (Cracco et al., 2022) to dissociate between two percepts: 1) the representation of individual body postures, and 2) their temporal integration into movements. In contrast to our hypothesis, we found no evidence for a diminished temporal body posture integration in the high-scoring group. We did, however, find a group difference that suggests that adults scoring high on autism traits have a visual processing style that focuses more on a single percept (i.e. either body postures or movements, contingent on saliency) compared to adults scoring low on autism traits who instead seemed to represent the two percepts included in the paradigm in a more balanced manner. Although unexpected, this finding aligns well with the autism literature on perceptual stability.

Movement synchrony among dance performers predicts brain synchrony among dance spectators.

Performing dance is an intrinsically social art form where at least one person moves while another person watches. Dancing in groups promotes social bonding, but how does group dance affect the people watching? A group of dancers and dance novices watched a 30 min dance video individually in an fMRI scanner. In a follow-up behavioural study, the same people watched the video again and provided continuous enjoyment ratings. Firstly, we computed cross-recurrence of continuous enjoyment ratings and inter-subject correlations (ISCs) in fMRI separately for both groups, and with the choreographer of the dance work. At both behavioural and neural levels, dancers responded more similarly to each other than novices. ISCs among dancers extended beyond brain areas involved in audio-visual integration and sensory areas of human movement perception into motor areas, suggesting greater sensorimotor familiarity with the observed dance movements in the expert group. Secondly, we show that dancers' brain activations and continuous ratings are more similar to the choreographer's ratings in keeping with sharing an aesthetic and artistic perspective when viewing the dance. Thirdly, we show that movement synchrony among performers is the best predictor of brain synchrony among both expert and novice spectators. This is consistent with the idea that changes in emergent movement synchrony are a key aesthetic feature of performing dance. Finally, ISCs across perceptual and motor brain areas were primarily driven by movement acceleration and synchrony, whereas ISCs in orbital and pre-frontal brain areas were overall weaker and better explained by the continuous enjoyment ratings of each group. Our findings provide strong evidence that the aesthetic appreciation of dance involves a common experience between dance spectators and the choreographer. Moreover, the similarity of brain activations and of enjoyment increases with shared knowledge of - and practice in - the artform that is being experienced, in this case contemporary performing dance.

An EEG frequency tagging study on biological motion perception in children with DCD.

BACKGROUND: The perception of biological motion requires accurate prediction of the spatiotemporal dynamics of human movement. Research on Developmental Coordination Disorder (DCD) suggests deficits in accurate motor prediction, raising the question whether not just action execution, but also action perception is perturbed in this disorder. AIMS: To examine action perception by comparing the neural response to the observation of apparent biological motion in children with and without DCD. METHODS AND PROCEDURES: Thirty-three participants with and 33 without DCD, matched based on age (13.0 ± 2.0), sex and writing hand, observed sequences of static body postures that showed either fluent or non-fluent motion, in which only the fluent condition depicted apparent biological motion. Using a recently validated paradigm combining EEG frequency tagging and apparent biological motion (Cracco et al., 2023), the perception of biological motion was contrasted with the perception of individual body postures. OUTCOMES AND CONCLUSIONS: Children with DCD did not show reduced sensitivity to apparent biological motion compared with typically developing children. However, the DCD group did show a reduced brain response to repetitive visual stimuli, suggesting altered predictive processing in the perceptual domain in this group. Suggestions for further research on biological motion perception in DCD are identified.

Time perception during apparent biological motion reflects subjective speed of movement, not objective rate of visual stimulation.

We have investigated links between biological motion perception and time perception. Participants compared the durations of two paired visual frames, inside which task-irrelevant sequences of static body postures were presented. The sequences produced apparent movements of shorter and longer path lengths, depending on the sequential order of body postures (ABC or ACB). Shorter and longer path lengths were paired with shorter and longer interstimulus intervals (ISIs) to produce path/ISI congruent sequences with intermediate subjective speeds and path/ISI incongruent sequences with slowest and fastest subjective speeds. Participants compared the duration of the visual frames surrounding these sequences; body postures and biological motion were irrelevant. The ability to discriminate the duration of the frames (as measured by the just noticeable difference, JND) was reduced for pairs of path/ISI congruent sequences as compared to pairs of path/ISI incongruent sequences. That is, duration discrimination improved when implied speed differed between the two sequences of a pair compared to when the implied speed was the same. Since stimuli showed no actual movement and were fully matched for lower-level visual input and objective stimulus durations, our findings suggest an involvement of higher-order visual or even motor areas in temporal biases during apparent biological motion perception. We show that apparent speed is the primary dimension of such percepts consistent with a dominant role of movement dynamics in the perception of other people's actions. Our results also confirm an intimate relation between time perception and processing of human movement.

Learning to like it: aesthetic perception of bodies, movements and choreographic structure.

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical (ABCDCBA) and asymmetrical (ABCDBCA) sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, "good" continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with "good" continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure.

The role of objecthood and animacy in apparent movement processing.

Although the ability to detect the actions of other living beings is key for adaptive social behavior, it is still unclear if biological motion perception is specific to human stimuli. Biological motion perception involves both bottom-up processing of movement kinematics ('motion pathway') and top-down reconstruction of movement from changes in the body posture ('form pathway'). Previous research using point-light displays has shown that processing in the motion pathway depends on the presence of a well-defined, configural shape (objecthood) but not necessarily on whether that shape depicts a living being (animacy). Here, we focused on the form pathway. Specifically, we combined electroencephalography (EEG) frequency tagging with apparent motion to study how objecthood and animacy influence posture processing and the integration of postures into movements. By measuring brain responses to repeating sequences of well-defined or pixelated images (objecthood), depicting human or corkscrew agents (animacy), performing either fluent or non-fluent movements (movement fluency), we found that movement processing was sensitive to objecthood but not animacy. In contrast, posture processing was sensitive to both. Together, these results indicate that reconstructing biological movements from apparent motion sequences requires a well-defined but not necessarily an animate shape. Instead, stimulus animacy appears to be relevant only for posture processing.

Aesthetic preference in the production of image sequences.

Introduction: This research uses the production method to study aesthetic preference for sequences of human body postures. In two experiments, participants produced image sequences based on their aesthetic preferences, while we measured the visual aesthetic features displayed in the compositions. Methods: In Experiment 1, participants created static image sequences based on their preferences. In Experiment 2, participants sorted images into apparent motion sequences they preferred to view. Results: In Experiment 1, good continuation of successive bodies and body-like objects was the preferred order. In Experiment 2, participants preferred abstract images with local sequential symmetry and human body postures exhibiting global sequential symmetry. Discussion: Our findings are compared to those of previous studies that employed the more widely used method of choice. Our experiments propose novel methods and conceptualizations for investigating aesthetic preferences for human body movement and other types of stimulus sequences.

Online structured dance/movement therapy reduces bodily detachment in depersonalization-derealization disorder.

BACKGROUND: Depersonalization-derealization disorder (DDD) is a dissociative disorder encompassing pronounced disconnections from the self and from external reality. As DDD is inherently tied to a detachment from the body, dance/movement therapy could provide an innovative treatment approach. MATERIALS AND METHODS: We developed two online dance tasks to reduce detachment either by training body awareness (BA task) or enhancing the salience of bodily signals through dance exercise (DE task). Individuals with DDD (n = 31) and healthy controls (n = 29) performed both tasks individually in a cross-over design. We assessed symptom severity (Cambridge Depersonalization Scale), interoceptive awareness (Multidimensional Assessment of Interoceptive Awareness - II), mindfulness (Five Facet Mindfulness Questionnaire), and body vigilance (Body Vigilance Scale) before, during and after the tasks. RESULTS: At baseline, individuals with DDD exhibited elevated depersonalization-derealization symptoms alongside lower levels of interoceptive awareness and mindfulness compared to controls. Both tasks reduced symptoms in the DDD group, though dance exercise was perceived as easier. The DE task increased mindfulness in those with DDD more than the BA task, whereas controls showed the opposite pattern. In the DDD group, within-subject correlations showed that lower levels of symptoms were associated with task-specific elevations in interoceptive awareness and mindfulness. CONCLUSION: Individual and structured dance/movement practice, performed at home without an instructor present, offers an effective tool to reduce symptoms in DDD and can be tailored to address specific cognitive components of a mindful engagement with the body.

Ready steady slow: action preparation slows the subjective passage of time.

Professional ball game players report the feeling of the ball 'slowing-down' before hitting it. Because effective motor preparation is critical in achieving such expert motor performance, these anecdotal comments imply that the subjective passage of time may be influenced by preparation for action. Previous reports of temporal illusions associated with action generally emphasize compensation for suppressed sensory signals that accompany motor commands. Here, we show that the time is perceived slowed-down during preparation of a ballistic reaching movement before action, involving enhancement of sensory processing. Preparing for a reaching movement increased perceived duration of a visual stimulus. This effect was tightly linked to action preparation, because the amount of temporal dilation increased with the information about the upcoming movement. Furthermore, we showed a reduction of perceived frequency for flickering stimuli and an enhanced detection of rapidly presented letters during action preparation, suggesting increased temporal resolution of visual perception during action preparation. We propose that the temporal dilation during action preparation reflects the function of the brain to maximize the capacity of sensory information-acquisition prior to execution of a ballistic movement. This strategy might facilitate changing or inhibiting the planned action in response to last-minute changes in the external environment.

Assessing responsiveness to direct verbal suggestions in depersonalization-derealization disorder.

The dissociative disorders and germane conditions are reliably characterized by elevated responsiveness to direct verbal suggestions. However, it remains unclear whether atypical responsiveness to suggestion is similarly present in depersonalization-derealization disorder (DDD). 55 DDD patients and 36 healthy controls completed a standardised behavioural measure of direct verbal suggestibility that includes a correction for compliant responding (BSS-C), and psychometric measures of depersonalization-derealization (CDS), mindfulness (FFMQ), imagery vividness (VVIQ), and anxiety (GAD-7). Relative to controls, patients did not exhibit elevated suggestibility (g = 0.26, BF10 = .11) but displayed significantly lower mindfulness (g = 1.38), and imagery vividness (g = 0.63), and significantly greater anxiety (g = 1.39). Although suggestibility did not correlate with severity of depersonalization-derealization symptoms in controls, r = -.03 [95% CI: -.36, .30], there was a weak tendency for a positive association in patients, r = .25, [95% CI: -.03, .48]. Exploratory analyses revealed that patients with more severe anomalous bodily experiences were also more responsive to suggestion, an effect not seen in controls. This study demonstrates that DDD is not characterized by elevated responsiveness to direct verbal suggestions. These results have implications for the aetiology and treatment of this condition, as well as its classification as a dissociative disorder in psychiatric nosology.

A dot that went for a walk: People prefer lines drawn with human-like kinematics.

A dominant theory of embodied aesthetic experience (Freedberg & Gallese, 2007, Trends in Cognitive Sciences, 11, 197) posits that the appreciation of visual art is linked to the artist's movements when creating the artwork, yet a direct link between the kinematics of drawing actions and the aesthetics of drawing outcomes has not been experimentally demonstrated. Across four experiments, we measured aesthetic responses of students from arts and non-arts backgrounds to drawing movements generated from computational models of human writing. Experiment 1 demonstrated that human-like drawing movements with bell-shaped velocity profiles (Sigma Lognormal [SL] and Minimum Jerk [MJ]) are perceived as more natural and pleasant than movements with a uniform profile, and in both Experiments 1 and 2 movements that were perceived as more natural were also preferred. Experiment 3 showed that this effect persists if lower-level dynamic stimulus features are fully matched across experimental and control conditions. Furthermore, aesthetic preference for human-like movements were associated with greater perceptual fluency in Experiment 3, evidenced by unbiased estimations of the duration of natural movements. In Experiment 4, line drawings with visual features consistent with the dynamics of natural, human-like movements were preferred, but only by art students. Our findings directly link the aesthetics of human action to the visual aesthetics of drawings, but highlight the importance of incorporating artistic expertise into embodied accounts of aesthetic experience.

From body form to biological motion: the apparent velocity of human movement biases subjective time.

In two experiments, we investigated time perception during apparent biological motion. Pictures of initial, intermediate, and final positions of a single movement were presented, with interstimulus intervals that were constant within trials but varied across trials. Movement paths were manipulated by changing the sequential order of body postures. Increasing the path length produced an increase in perceived movement velocity. To produce an implicit measure of apparent movement dynamics, we also asked participants to judge the duration of a frame surrounding the stimuli. Longer paths with higher apparent movement velocity produced shorter perceived durations. This temporal bias was attenuated for nonbody (Experiment 1) and inverted-body (Experiment 2) control stimuli. As an explanation for these findings, we propose an automatic top-down mechanism of biological-motion perception that binds successive body postures into a continuous perception of movement. We show that this mechanism is associated with velocity-dependent temporal compression. Furthermore, this mechanism operates on-line, bridging the intervals between static stimuli, and is specific to configural processing of body form.

Timing is everything: Dance aesthetics depend on the complexity of movement kinematics.

What constitutes a beautiful action? Research into dance aesthetics has largely focussed on subjective features like familiarity with the observed movement, but has rarely studied objective features like speed or acceleration. We manipulated the kinematic complexity of observed actions by creating dance sequences that varied in movement timing, but not in movement trajectory. Dance-naïve participants rated the dance videos on speed, effort, reproducibility, and enjoyment. Using linear mixed-effects modeling, we show that faster, more predictable movement sequences with varied velocity profiles are judged to be more effortful, less reproducible, and more aesthetically pleasing than slower sequences with more uniform velocity profiles. Accordingly, dance aesthetics depend not only on which movements are being performed but on how movements are executed and linked into sequences. The aesthetics of movement timing may apply across culturally-specific dance styles and predict both preference for and perceived difficulty of dance, consistent with information theory and effort heuristic accounts of aesthetic appreciation.

Expertise in dance modulates alpha/beta event-related desynchronization during action observation.

We presented professional dancers and non-dancers with videos of two movement styles, dance movements and everyday movements. Participants were asked to indicate by a button press to which category a movement belonged. We computed event-related desynchronization (ERD) in alpha and beta frequency bands between 7.5 and 25 Hz relative to a visual baseline condition. Power in alpha and lower beta frequency bands was significantly reduced if dancers watched dance movements but not if non-dancers watched dance movements, in particular between 1 and 2 s after movement onset. During observation of everyday movements no such group difference was evident. Thus, ERD in alpha and beta frequency bands was modulated by a participant's expertise with a certain movement style. The results are discussed in light of a human observation-execution matching system similar to the macaque mirror neuron system and strengthen the idea of a functional relationship between such a system and rhythmical activity in the alpha and beta frequency bands.