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Touch involves more than a mere sensory stimulation on the skin, as it allows us to communicate different emotions and intentions. Notably, skin-to-skin tactile interactions create vibrations that are of similar nature to auditory ones, suggesting that tactile signals could be transposed into auditory signals. However, up to date, no studies have investigated whether it is possible to recognise tactile gestures or their underlying emotional content through the auditory channel. To explore this question, the vibratory signals from prototypical skin-to-skin touches were recorded with a violin microphone and amplified by means of basic sensory signal processing, creating what we refer to as ‘audio-touch stimuli’. In a first experiment, participants listened to the sounds of four social touches (i.e., stroking, rubbing, tapping, hitting), which they were able to recognise and categorise. In a second experiment, participants listened to the audio-touch sounds of six social touches conveying different socio-emotional intentions (i.e., anger, attention, fear, joy, love, sympathy) and were able to recognise and associate them with the intended emotional messages. Altogether, these results show for the first time that both the tactile gestures and the emotional contents of tactile interactions can be identified through their auditory counterparts. The line of research opened here sets up the grounds for future possibilities to allow socio-affective interactions at a distance, with both humans and virtual agents.

Perceiving art is known to elicit motor cortex activation in an observer's brain. This motor activation has often been attributed to a covert approach response associated with the emotional valence of an art piece (emotional reaction hypothesis). However, recent accounts have proposed that aesthetic experiences could be grounded in the motor simulation of actions required to produce an art piece and of the sensorimotor states embedded in its subject (embodied aesthetic hypothesis). Here, we aimed to test these two hypotheses by assessing whether motor facilitation during artwork perception mirrors emotional or motor simulation processes. To this aim, we capitalized on single pulse transcranial magnetic stimulation revealing a two-stage motor coding of emotional body postures: an early, non-specific activation related to emotion processing and a later action-specific activation reflecting motor simulation. We asked art-naive individuals to rate how much they liked a series of pointillist and brushstroke canvases; photographs of artistic gardens served as control natural stimuli. After an early (150 ms) or a later (300 ms) post-stimulus delay, motor evoked potentials were recorded from wrist-extensor and finger muscles that were more involved in brushstroke- and pointillist-like painting, respectively. Results showed that observing the two canvas styles did not elicit differential motor activation in the early time window for either muscle, not supporting the emotional reaction hypothesis. However, in support of the embodied aesthetic hypothesis, we found in the later time window greater motor activation responses to brushstroke than pointillist canvases for the wrist-extensor, but not for the finger muscle. Furthermore, this muscle-selective facilitation was associated with lower liking ratings of brushstroke canvases and with greater empathy dispositions. These findings support the claim that simulation of the painter's movements is crucial for aesthetic experience, by documenting a link between motor simulation, dispositional empathy, and subjective appreciation in artwork perception.

What leads us to enjoy watching others’ bodies in motion? In this chapter, the authors discuss their motivation to explore how our bodily experiences, especially in the form of dance training, shape our perceptions and preferences for watching others move, especially in dance contexts. They highlight findings from several studies that they conducted to investigate how general dance experience (or lack thereof) influences our enjoyment of watching dance and how acquiring experience specifically related to the dance piece being observed shapes the pleasure we derive from watching that piece specifically. Overall, our work finds that the richer experience an observer has with learning particular dance movements, the more enjoyment that observer derived from watching those movements. This research underscores the utility of dance as a stimulus and training intervention for addressing key questions relevant to human neuroscience, psychology, and philosophy, particularly in the domain of neuroaesthetics.

Interoception, the sense of the physiological state of the body, and perspective-taking, the ability to take another’s point of view, are two fundamental components contributing to our perception and interaction with the external world. However, whether the perception of our inner body influences how we perceive the external world and other people remains poorly understood. Here, we review recent behavioural and neuroimaging evidence investigating the links between dimensions of interoception (i.e., accuracy, sensibility and awareness) and perspective-taking (i.e., affective, cognitive and visual). So far, only a limited subset of these dimensions has been investigated together and the results suggest that interoceptive abilities may only interact with perspective-taking when embodied mental transformations are required. Furthermore, mainly the emotional aspects of perspective-taking are related to interoception, influencing the ability to empathise with others. Future research should systematically investigate the links between all dimensions of interoception and perspective-taking to provide full understanding of the specific role interoception has on how we perceive the world and take another’s point of view.

Our sense of body ownership relies on integrating different sensations according to their temporal and spatial congruency. Nevertheless, there is ongoing controversy about the role of affective congruency during multisensory integration, i.e. whether the stimuli to be perceived by the different sensory channels are congruent or incongruent in terms of their affective quality. In the present study, we applied a widely used multisensory integration paradigm, the Rubber Hand Illusion, to investigate the role of affective, top-down aspects of sensory congruency between visual and tactile modalities in the sense of body ownership. In Experiment 1 (N = 36), we touched participants with either soft or rough fabrics in their unseen hand, while they watched a rubber hand been touched synchronously with the same fabric or with a ‘hidden’ fabric of ‘uncertain roughness’. In Experiment 2 (N = 50), we used the same paradigm as in Experiment 1, but replaced the ‘uncertainty’ condition with an ‘incongruent’ one, in which participants saw the rubber hand being touched with a fabric of incongruent roughness and hence opposite valence. We found that certainty (Experiment 1) and congruency (Experiment 2) between the felt and vicariously perceived tactile affectivity led to higher subjective embodiment compared to uncertainty and incongruency, respectively, irrespective of any valence effect. Our results suggest that congruency in the affective top-down aspects of sensory stimulation is important to the multisensory integration process leading to embodiment, over and above temporal and spatial properties.

Introduction\ud A three-level model of interoception has recently been defined. We aim to study the interoceptive processing in individuals with functional motor disorder (FMD).\ud \ud Methods\ud Twenty-two patients with FMD were compared to 23 healthy controls. They underwent a protocol measuring different levels of interoception including: accuracy (a heart-beat tracking task), awareness (participant's confidence level) and sensibility (the Body Awareness Questionnaire-BAQ). Depression, anxiety and alexithymia were assessed by means of validated clinical scales.\ud \ud Results\ud The FMD group showed a lower cardiac interoceptive accuracy and sensibility than healthy controls but they did not differ in terms of awareness (p = 0.03 and 0.005 respectively). They were aware of their poor performance in the accuracy task. Cardiac interoceptive accuracy positively correlated with the BAQ sub-scales “Predict Body Reaction” (r = 0.49, p = 0.001) and “Sleep-Wake Cycle” (r = 0.52, p < 0.001). A mediation analysis showed a significant indirect effect of group on cardiac interoceptive accuracy through BAQ “Predict Body Reaction” (b = −2.95, 95% BCa CI[-7.2;-0.2]). The direct effect of group on “Predict Body Reaction” was still significant (b = − 6.95, p = 0.02, 95% CI[-13.18;-0.73]).\ud \ud Conclusions\ud People with FMD have impaired cardiac interoceptive accuracy and sensibility but no difference in metacognitive interoception compared to healthy controls.

The syndrome of anosognosia for hemiplegia, or the lack of awareness for one’s paralysis following right hemisphere stroke, can provide unique insights into the neurocognitive mechanisms of self-awareness. Yet it remains unclear whether anosognosia for hemiplegia is a modality-specific deficit of sensorimotor monitoring, or whether domain-general processes of attention and belief-updating converge to cause anosognosia for hemiplegia. Using a Bayesian learning framework, we formalized and empirically investigated the hypothesis that failures to update anosognosic beliefs can be explained by abnormalities in the relative uncertainty (i.e. precision) ascribed to prior beliefs versus sensory information in different contexts. We designed a new motor belief-updating task that manipulated both the temporal (prospective and retrospective) and spatial (hemispace most affected by inattention and hemispace less affected by inattention) conditions in which beliefs had to be updated, and we validated its sensitivity to anosognosia for hemiplegia in 26 patients with right hemisphere stroke. We then computed and empirically tested two different Bayesian predictors of prospective beliefs using two proxies for precision in anosognosia for hemiplegia patients: (i) standardized, neuropsychological measures of objective attention abilities, i.e. visuospatial neglect scores and (ii) subjective uncertainty reports, i.e. confidence ratings. Our results suggest that while neglect does not affect local, sensorimotor error monitoring, it does seem to affect the degree to which observed errors are used to update more general, prospective beliefs about counterfactual motor abilities in anosognosia for hemiplegia. Difficulties in such ‘counterfactual’ belief-updating were associated with disruptions in tracts of the ventral attentional network (i.e. superior longitudinal fasciculus connecting the temporo-parietal junction and ventral frontal cortex) and associated lesions to the insula, inferior parietal cortex and superior temporal regions. These results suggest that self-awareness extends beyond local, retrospective monitoring, requiring also salience-based, convergence of beliefs about the self that go beyond the ‘here-and-now’ of sensorimotor experience., Kirsch et al. developed a novel task to manipulate the temporal (prospective and retrospective) and spatial context of motor belief-updating under a Bayesian modelling framework, finding that salience-related, right hemisphere disconnections affect individual’s ability to evaluate the relevance of context-dependent sensorimotor errors to more abstract (context-independent) beliefs about the self., Graphical Abstract Graphical Abstract

Information from the environment can be perceived according to ego-centered or decentered spatial perspectives. Different spatial perspectives can be adopted when perceiving not only visual but also auditory or tactile information. Because vision may be dominant in setting up spatial information processing, visual loss might affect perspective taking in other sensory modalities. The present study investigated the influence of vision on the perspective that is adopted naturally and the influence of visual experience on the ability to switch between perspectives in the tactile domain. Participants with varying degrees of visual experience (early blind, late blind, blindfolded-sighted, and sighted) completed a tactile recognition task of ambiguous letter stimuli ("b," "d," "p," and "q") presented on the body, for which 3 perspectives can be adopted (trunk centered, head centered, and decentered). The participants were first free to adopt any perspective they wanted before either the same or a different perspective was imposed. The results showed that both a temporary and a permanent lack of vision promote spontaneous adoption of ego-centered spatial coordinates, anchored to the head. Moreover, more decentered coordinates were adopted by the blindfolded-sighted compared with the early and late blind, suggesting that blindness reduces the adoption of decentered perspectives. Finally, the early blind exhibited a greater cost of switching perspectives compared with the sighted, suggesting that early visual experience is important for flexible perspective taking. Overall, our study reveals that vision shapes both the naturally adopted perspective and the flexibility to change perspective. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

Skin-to-skin touch is an essential form of tactile interaction, yet, there is no known method to quantify how we touch our own skin or someone else’s skin. Skin-to-skin touch is particularly challenging to measure objectively since interposing an instrumented sheet, no matter how thin and flexible, between the interacting skins is not an option. To fill this gap, we explored a technique that takes advantage of the propagation of vibrations from the locus of touch to pick up a signal remotely that contains information about skin-to-skin tactile interactions. These “tactile waves” were measured by an accelerometer sensor placed on the touching finger. Tactile tonicity and speed had a direct influence on measured signal power when the target of touch was the self or another person. The measurements were insensitive to changes in the location of the sensor relative to the target. Our study suggests that this method has potential for probing behaviour during skin-to-skin tactile interactions and could be a valuable technique to study social touch, self-touch, and motor-control. The method is non-invasive, easy to commission, inexpensive, and robust.

Information can be perceived from a multiplicity of spatial perspectives, which is central to effectively understanding and interacting with our environment and other people. Sensory impairments such as blindness are known to impact spatial representations and perspective-taking is often thought of as a visual process. However, disturbed functioning of other sensory systems (e.g., vestibular, proprioceptive and auditory) can also influence spatial perspective-taking. These lines of research remain largely separate, yet together they may shed new light on the role that each sensory modality plays in this core cognitive ability. The findings to date reveal that spatial cognitive processes may be differently affected by various types of sensory loss. The visual system may be crucial for the development of efficient allocentric (object-to-object) representation; however, the role of vision in adopting another’s spatial perspective remains unclear. On the other hand, the vestibular and the proprioceptive systems likely play an important role in anchoring the perceived self to the physical body, thus facilitating imagined self-rotations required to adopt another’s spatial perspective. Findings regarding the influence of disturbed auditory functioning on perspective-taking are so far inconclusive and thus await further data. This review highlights that spatial perspective-taking is a highly plastic cognitive ability, as the brain is often able to compensate in the face of different sensory loss.

Sensory Substitution Devices (SSDs) are typically used to restore functionality of a sensory modality that has been lost, like vision for the blind, by recruiting another sensory modality such as touch or audition. Sensory substitution has given rise to many debates in psychology, neuroscience and philosophy regarding the nature of experience when using SSDs. Questions first arose as to whether the experience of sensory substitution is represented by the substituted information, the substituting information, or a multisensory combination of the two. More recently, parallels have been drawn between sensory substitution and synaesthesia, a rare condition in which individuals involuntarily experience a percept in one sensory or cognitive pathway when another one is stimulated. Here, we explore the efficacy of understanding sensory substitution as a form of ‘artificial synaesthesia’. We identify several problems with previous suggestions for a link between these two phenomena. Furthermore, we find that sensory substitution does not fulfil the essential criteria that characterise synaesthesia. We conclude that sensory substitution and synaesthesia are independent of each other and thus, the ‘artificial synaesthesia’ view of sensory substitution should be rejected.

Right-hemisphere stroke can impair the ability to recognize one’s contralesional body parts as belonging to one’s self. The study of this so-called ‘disturbed sense of limb ownership’ can provide unique insights into the neurocognitive mechanisms of body ownership. In this study, we address a hypothesis built upon experimental studies on body ownership in healthy volunteers. These studies have shown that affective (pleasant) touch, an interoceptive modality associated with unmyelinated, slow-conducting C-tactile afferents, has a unique role in the sense of body ownership. In this study, we systematically investigated whether affective touch stimulation could increase body ownership in patients with a disturbed sense of limb ownership following right-hemisphere stroke. An initial feasibility study in 16 adult patients with acute stroke enabled us to optimize and calibrate an affective touch protocol to be administered by the bedside. The main experiment, conducted with a different sample of 26 right hemisphere patients, assessed changes in limb ownership elicited following self- (patient) versus other- (experimenter) generated tactile stimulation, using a velocity known to optimally activate C-tactile fibres (i.e. 3 cm/s), and a second velocity that is suboptimal for C-tactile activation (i.e. 18 cm/s). We further examined the specificity and mechanism of observed changes in limb ownership in secondary analyses looking at (i) the influence of perceived intensity and pleasantness of touch, (ii) touch laterality and (iii) level of disturbed sense of limb ownership on ownership change and (iv) changes in unilateral neglect arising from touch. Findings indicated a significant increase in limb ownership following experimenter-administered, C-tactile-optimal touch. Voxel-based lesion-symptom mapping identified damage to the right insula and, more substantially, the right corpus callosum, associated with a failure to increase body ownership following experimenter-administered, affective touch. Our findings suggest that affective touch can increase the sense of body-part ownership following right-hemisphere stroke, potentially due to its unique role in the multisensory integration processes that underlie the sense of body ownership., Right-hemisphere stroke patients sometimes deny the ownership of their left hand. Jenkinson et al. report that a neurophysiologically-specific, other-generated kind of slow, caress-like touch can increase arm ownership. Lesions to the insula and corpus callosum prevent this increase in ownership. Findings support the role of interoception in body ownership., Graphical Abstract Graphical Abstract

How we perceive others in action is shaped by our prior experience. Many factors influence brain responses when observing others in action, including training in a particular physical skill, such as sport or dance, and also general development and aging processes. Here, we investigate how learning a complex motor skill shapes neural and behavioural responses among a dance-naïve sample of 20 young and 19 older adults. Across four days, participants physically rehearsed one set of dance sequences, observed a second set, and a third set remained untrained. Functional MRI was obtained prior to and immediately following training. Participants’ behavioural performance on motor and visual tasks improved across the training period, with younger adults showing steeper performance gains than older adults. At the brain level, both age groups demonstrated decreased sensorimotor cortical engagement after physical training, with younger adults showing more pronounced decreases in inferior parietal activity compared to older adults. Neural decoding results demonstrate that among both age groups, visual and motor regions contain experience-specific representations of new motor learning. By combining behavioural measures of performance with univariate and multivariate measures of brain activity, we can start to build a more complete picture of age-related changes in experience-dependent plasticity.

Touch is central to interpersonal interactions. Touch conveys specific emotions about the touch provider, but it is not clear whether this is a purely socially learned function or whether it has neurophysiological specificity. In two experiments with healthy participants (N = 76 and 61) and one neuropsychological single case study, we investigated whether a type of touch characterised by peripheral and central neurophysiological specificity, namely the C tactile (CT) system, can communicate specific emotions and mental states. We examined the specificity of emotions elicited by touch delivered at CT-optimal (3 cm/s) and CT-suboptimal (18 cm/s) velocities (Experiment 1) at different body sites which contain (forearm) vs. do not contain (palm of the hand) CT fibres (Experiment 2). Blindfolded participants were touched without any contextual cues, and were asked to identify the touch provider's emotion and intention. Overall, CT-optimal touch (slow, gentle touch on the forearm) was significantly more likely than other types of touch to convey arousal, lust or desire. Affiliative emotions such as love and related intentions such as social support were instead reliably elicited by gentle touch, irrespective of CT-optimality, suggesting that other top-down factors contribute to these aspects of tactile social communication. To explore the neural basis of this communication, we also tested this paradigm in a stroke patient with right perisylvian damage, including the posterior insular cortex, which is considered as the primary cortical target of CT afferents, but excluding temporal cortex involvement that has been linked to more affiliative aspects of CT-optimal touch. His performance suggested an impairment in ‘reading’ emotions based on CT-optimal touch. Taken together, our results suggest that the CT system can add specificity to emotional and social communication, particularly with regards to feelings of desire and arousal. On the basis of these findings, we speculate that its primary functional role may be to enhance the ‘sensual salience’ of tactile interactions., Highlights • Touch can convey specific emotions and intentions. • Slow gentle touch communicates love and intimacy regardless of CT fibre activation. • The CT system plays a specific role in mediating sensual touch. • Insula activation might be necessary in the arousing function of the CT system.

Social touch has positive effects on social affiliation and stress alleviation. However, its ubiquitous presence in human life does not allow the study of social touch deprivation ‘in the wild’. Nevertheless, COVID-19-related restrictions such as social distancing allowed the systematic study of the degree to which social distancing affects tactile experiences and mental health. In this study, 1746 participants completed an online survey to examine intimate, friendly and professional touch experiences during COVID-19-related restrictions, their impact on mental health and the extent to which touch deprivation results in craving touch. We found that intimate touch deprivation during COVID-19-related restrictions is associated with higher anxiety and greater loneliness even though this type of touch is still the most experienced during the pandemic. Moreover, intimate touch is reported as the type of touch most craved during this period, thus being more prominent as the days practising social distancing increase. However, our results also show that the degree to which individuals crave touch during this period depends on individual differences in attachment style: the more anxiously attached, the more touch is craved; with the reverse pattern for avoidantly attached. These findings point to the important role of interpersonal and particularly intimate touch in times of distress and uncertainty.

The mammalian need for social proximity, attachment and belonging may have an adaptive and evolutionary value in terms of survival and reproductive success. Consequently, ostracism may induce strong negative feelings of social exclusion. Recent studies suggest that slow, affective touch, which is mediated by a separate, specific C tactile neurophysiological system than faster, neutral touch, modulates the perception of physical pain. However, it remains unknown whether slow, affective touch, can also reduce feelings of social exclusion, a form of social pain. Here, we employed a social exclusion paradigm, namely the Cyberball task (N = 84), to examine whether the administration of slow, affective touch may reduce the negative feelings of ostracism induced by the social exclusion manipulations of the Cyberball task. As predicted, the provision of slow-affective, as compared to fast-neutral, touch led to a specific decrease in feelings of social exclusion, beyond general mood effects. These findings point to the soothing function of slow, affective touch, particularly in the context of social separation or rejection, and suggest a specific relation between affective touch and social bonding.

Touch can give rise to different sensations including sensory, emotional and social aspects. Tactile pleasure typically associated with caress-like skin stroking of slow velocities (1-10 cm/s) has been hypothesised to relate to an unmyelinated, slow-conducting C-tactile afferent system (CT system), developed to distinguish affective touch from the ‘‘noise’’ of other tactile information on hairy skin (the so-called ‘social touch hypothesis’). However, to date, there is no psychometric examination of the discriminative and metacognitive processes that contribute to accurate awareness of pleasant touch stimuli. Over two studies (total N= 194), we combined for the first time CT stimulation with signal detection theory and metacognitive measurements to assess the social touch hypothesis on the role of the CT system in affective touch discrimination. Participants’ ability to accurately discriminate pleasantness of tactile stimuli of different velocities, as well as their response bias, was assessed using a force-choice task (high versus low pleasantness response) on two different skin sites: forearm (CT-skin) and palm (non-CT skin). We also examined whether such detection accuracy was related to the confidence in their decision (metacognitive sensitivity). Consistently with the social touch hypothesis, we found higher sensitivity d’ on the forearm versus the palm, indicating that people are better at discriminating between stimuli of high and low tactile pleasantness on a skin site that contains CT afferents. Strikingly, we also found more negative response bias on the forearm versus the palm, indicating a tendency to experience all stimuli on CT-skin as ‘high-pleasant’, with such effects depending on order, likely to be explained by prior touch exposure. Finally, we found that people have greater confidence in their ability to discriminate between affective touch stimuli on CT innervated skin than on non-CT skin, possibly relating to the domain specificity of CT touch hence suggesting a domain-specific, metacognitive hypothesis that can be explored in future studies as an extension of the social touch hypothesis.HighlightsTouch mediated by C-tactile (CT) afferents on hairy skin elicits pleasant sensationsWe combine for the first time CT stimulation with signal detection theoryBetter accuracy to detect pleasantness of tactile stimuli at CT optimal speeds on CT skinHigher confidence in ability to accurately distinguish affective touch on CT skin

BackgroundThe vestibular system has been shown to contribute to multisensory integration by balancing conflictual sensory information. It remains unclear whether such modulation of exteroceptive (e.g. vision), proprioceptive and interoceptive (e.g. affective touch) sensory sources is influenced by epistemically different aspects of tactile stimulation (i.e. felt from within vs seen, vicarious touch).ObjectiveWe aimed to i) replicate previous findings regarding the effects of galvanic stimulation of the right vestibular network (i.e. LGVS) in multisensory integration and ii) examine vestibular contributions to multisensory integration when touch is felt but not seen (and vice-versa).MethodDuring artificial vestibular stimulation (LGVS, RGVS and Sham), healthy participants (N=36, Experiment 1; N=37, Experiment 2) looked at a rubber hand while either their own unseen hand or the rubber hand were touched by affective or neutral touch.ResultsWe found that i) LGVS led to enhancement of vision over proprioception during visual only conditions (replicating our previous findings), and ii) LGVS (vs Sham) favoured proprioception over vision when touch was felt (Experiment 1), with the opposite results when touch was vicariously perceived via vision (Experiment 2), and with no difference between affective and neutral touch.ConclusionsWe showed how vestibular signals modulate the weight of each sensory modality according to the context in which they are perceived and that such modulation extends to different aspects of tactile stimulation: felt and seen touch are differentially balanced in multisensory integration according to their epistemic relevance.HighlightsLGVS increased proprioceptive drift during vision of a rubber handTouch on participant’s hand decreased proprioceptive drift during LGVSVicarious touch on the Rubber Hand increased proprioceptive drift during LGVSVestibular signals differently balance sensory sources in multisensory integration

International audience; Individuals differ both in spatial and social perspective-taking, yet the links between the two are not well understood. Individuals differ in the spatial perspective they naturally adopt, but also in their ability to change perspectives. The present study investigated whether individual differences in spatial perspective-taking are related to social intelligence and adult attachment style. Spatial perspective-taking was measured using a graphesthesia task, in which ambiguous tactile symbols can be interpreted from different spatial perspectives. The task identified the spatial perspective individuals spontaneously adopted, then assessed the ability to change between natural and unnatural perspectives. Participants demonstrated a cost of switching to an unnatural perspective and a benefit of returning to their natural perspective. A greater cost of switching to an unnatural perspective was associated with lower anxious attachment. A stronger benefit of returning to one's natural perspective was associated with higher social intelligence. These findings suggest that a strong grounding in one's natural spatial perspective is associated with lower interpersonal anxiety and higher social intelligence. Building on these results, future studies should further investigate causal relationships between social and spatial perspective-taking.

Our sense of body ownership relies on integrating different sensations according to their temporal and spatial congruency. Nevertheless, there is ongoing controversy about the role of affective congruency during multisensory integration, i.e. whether the stimuli to be perceived by the different sensory channels are congruent or incongruent in terms of their affective quality. In the present study, we applied a widely used multisensory integration paradigm, the Rubber Hand Illusion, to investigate the role of affective, top-down aspects of sensory congruency between visual and tactile modalities in the sense of body ownership. In Experiment 1 (N = 36), we touched participants with either soft or rough fabrics in their unseen hand, while they watched a rubber hand been touched synchronously with the same fabric or with a ‘hidden’ fabric of ‘uncertain roughness’. In Experiment 2 (N = 50), we used the same paradigm as in Experiment 1, but replaced the ‘uncertainty’ condition with an ‘incongruent’ one, in which participants saw the rubber hand being touched with a fabric of incongruent roughness and hence opposite valence. We found that certainty (Experiment 1) and congruency (Experiment 2) between the felt and vicariously perceived tactile affectivity led to higher subjective embodiment compared to uncertainty and incongruency, respectively, irrespective of any valence effect. Our results suggest that congruency in the affective top-down aspects of sensory stimulation is important to the multisensory integration process leading to embodiment, over and above temporal and spatial properties.

Understanding how action perception, embodiment, and emotion interact is essential for advancing knowledge about how we perceive and interact with each other in a social world. One tool that has proved particularly useful in the past decade for exploring the relationship between perception, action, and affect is dance. Dance is, in its essence, a rich and multisensory art form that can be used to help answer not only basic questions about social cognition but also questions concerning how aging shapes the relationship between action perception, and the role played by affect, emotion, and aesthetics in social perception. In the present study, we used a 1-week physical and visual dance training paradigm to instill varying degrees of sensorimotor experience among non-dancers from three distinct age groups (early adolescents, young adults, and older adults). Our aim was to begin to build an understanding of how aging influences the relationship between action embodiment and affective (or aesthetic) value, at both brain and behavioral levels. On balance, our results point toward a similar positive effect of sensorimotor training on aesthetic evaluations across the life span on a behavioral level, but to rather different neural substrates supporting implicit aesthetic judgment of dance movements at different life stages. Taken together, the present study contributes valuable first insights into the relationship between sensorimotor experience and affective evaluations across ages, and underscores the utility of dance as a stimulus and training intervention for addressing key questions relevant to human neuroscience as well as the arts and humanities.

Studies investigating human motor learning and movement perception have shown that similar sensorimotor brain regions are engaged when we observe or perform action sequences. However, the way these networks enable translation of complex observed actions into motor commands-such as in the context of dance-remains poorly understood. Emerging evidence suggests that the ability to encode specific visuospatial and kinematic movement properties encountered via different routes of sensorimotor experience may be an integral component of action learning throughout development. Using a video game-based dance training paradigm, we demonstrate that patterns of voxel activity in visual and sensorimotor brain regions when perceiving movements following training are related to the sensory modalities through which these movements were encountered during whole-body dance training. Compared to adolescents, young adults in this study demonstrated more distinctive patterns of voxel activity in visual cortices in relation to different types of sensorimotor experience. This finding suggests that cortical maturity might influence the extent to which prior sensorimotor experiences shape brain activity when watching others in action, and potentially impact how we acquire new motor skills.

The experience of our body as our own (i.e. body ownership) involves integrating different sensory signals according to their contextual relevance (i.e. multisensory integration). Until recently, most studies of multisensory integration and body ownership concerned only vision, touch and proprioception; the role of other modalities, such as the vestibular system and interoception, has been neglected and remains poorly understood. In particular, no study to date has directly explored the combined effect of vestibular and interoceptive signals on body ownership. Here, we investigated for the first time how Galvanic Vestibular Stimulation (left, right, sham), tactile affectivity (a reclassified interoceptive modality manipulated by applying touch at C-tactile optimal versus non-optimal velocities), and their combination, influence proprioceptive and subjective measures of body ownership during a rubber hand illusion paradigm with healthy participants (N = 26). Our results show that vestibular stimulation (left GVS) significantly increased proprioceptive drift towards the rubber hand during mere visual exposure to the rubber hand. Moreover, it also enhanced participants’ proprioceptive drift towards the rubber hand during manipulations of synchronicity and affective touch. These findings suggest that the vestibular system influences multisensory integration, possibly by re-weighting both the two-way relationship between proprioception and vision, as well as the three-way relationship between proprioception, vision and affective touch. We discuss these findings in relation to current predictive coding models of multisensory integration and body ownership., Highlights • We studied vestibular and affective contributions to body ownership. • We stimulated the vestibular system in a Rubber Hand paradigm with affective touch. • Right-hemisphere stimulation increased proprioceptive drift during vision of a RH. • Applying affective touch further increased proprioceptive drift. • Affective and vestibular signals may favour vision in multisensory integration.

When grasping and lifting different objects, visual cues and previously acquired knowledge enable us to prepare the upcoming grasp by scaling the fingertip forces according to the actual weight of the object. However, when no visual information is available, the weight of the object has to be predicted based on information learned from previous grasps. Here, we investigated how changes in corticospinal excitability (CSE) and grip force scaling depend on the presence of visual cues and the weight of previously lifted objects. CSE was assessed by delivering transcranial magnetic stimulation (TMS) at different times before grasp of the object. In conditions in which visual information was not provided, the size of motor evoked potentials (MEP) was larger when the object lifted was preceded by a heavy relative to a light object. Interestingly, the previous lift also affected MEP amplitude when visual cues about object weight were available but only in the period immediately after object presentation (50 ms); this effect had already declined for TMS delivered 150 ms after presentation. In a second experiment, we demonstrated that these CSE changes are used by the motor system to scale grip force. This suggests that the corticospinal system stores a “sensorimotor memory” of the grasp of different objects and relies on this memory when no visual cues are present. Moreover, visual information about weight interacts with this stored representation and allows the corticospinal system to switch rapidly to a different model of predictive grasp control.

Perceiving others in action elicits affective and aesthetic responses in observers. The present study investigates the extent to which these responses relate to an observer’s general experience with observed movements. Facial electromyographic (EMG) responses were recorded in experienced dancers and non-dancers as they watched short videos of movements performed by professional ballet dancers. Responses were recorded from the corrugator supercilii (CS) and zygomaticus major (ZM) muscles, both of which show engagement during the observation of affect-evoking stimuli. In the first part of the experiment, participants passively watched the videos while EMG data were recorded. In the second part, they explicitly rated how much they liked each movement. Results revealed a relationship between explicit affective judgments of the movements and facial muscle activation only among those participants who were experienced with the movements. Specifically, CS activity was higher for disliked movements and ZM activity was higher for liked movements among dancers but not among non-dancers. The relationship between explicit liking ratings and EMG data in experienced observers suggests that facial muscles subtly echo affective judgments even when viewing actions that are not intentionally emotional in nature, thus underscoring the potential of EMG as a method to examine subtle shifts in implicit affective responses during action observation.

Less than two decades after its inception, the burgeoning field of neuroaesthetics continues to grow in interest and momentum. Despite the biological and social importance of the human body and the attention people pay to its appearance in daily life, only recently has neuroaesthetic inquiry turned its attention to questions concerning the aesthetic appraisal of the human body. We review evidence illustrating that the complexity of aesthetic experience is reflected by dynamic interplay between brain systems involved in reward, perceptual and motor processing, with a focus on aesthetic perception involving the human body. We then evaluate work demonstrating how these systems are modulated by beholders' expertise or familiarity. Finally, we discuss seminal studies revealing the plasticity of behavioural and neural responses to beauty after perceptual and motor training. This research highlights the rich potential for neuroaesthetic inquiry to extend beyond its typical realm of the fine arts to address important questions regarding the relationship between embodiment, aesthetics and performing arts. We conclude by considering some of the criticisms and limitations of neuroaesthetics, and highlight several outstanding issues for future inquiry.

Contains fulltext : 140255.pdf (Publisher’s version ) (Open Access) 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.

Contains fulltext : 149550.pdf (Publisher’s version ) (Open Access) The way in which we perceive others in action is biased by one's prior experience with an observed action. For example, we can have auditory, visual, or motor experience with actions we observe others perform. How action experience via 1, 2, or all 3 of these modalities shapes action perception remains unclear. Here, we combine pre- and post-training functional magnetic resonance imaging measures with a dance training manipulation to address how building experience (from auditory to audiovisual to audiovisual plus motor) with a complex action shapes subsequent action perception. Results indicate that layering experience across these 3 modalities activates a number of sensorimotor cortical regions associated with the action observation network (AON) in such a way that the more modalities through which one experiences an action, the greater the response is within these AON regions during action perception. Moreover, a correlation between left premotor activity and participants' scores for reproducing an action suggests that the better an observer can perform an observed action, the stronger the neural response is. The findings suggest that the number of modalities through which an observer experiences an action impacts AON activity additively, and that premotor cortical activity might serve as an index of embodiment during action observation. 13 p.

Contains fulltext : 116721.pdf (Publisher’s version ) (Open Access) Past research demonstrates that we are more likely to positively evaluate a stimulus if we have had previous experience with that stimulus. This has been shown for judgment of faces, architecture, artworks and body movements. In contrast, other evidence suggests that this relationship can also work in the inverse direction, at least in the domain of watching dance. Specifically, it has been shown that in certain contexts, people derive greater pleasure from watching unfamiliar movements they would not be able to physically reproduce compared to simpler, familiar actions they could physically reproduce. It remains unknown, however, how different kinds of experience with complex actions, such as dance, might change observers' affective judgments of these movements. Our aim was to clarify the relationship between experience and affective evaluation of whole body movements. In a between-subjects design, participants received either physical dance training with a video game system, visual and auditory experience or auditory experience only. Participants' aesthetic preferences for dance stimuli were measured before and after the training sessions. Results show that participants from the physical training group not only improved their physical performance of the dance sequences, but also reported higher enjoyment and interest in the stimuli after training. This suggests that physically learning particular movements leads to greater enjoyment while observing them. These effects are not simply due to increased familiarity with audio or visual elements of the stimuli, as the other two training groups showed no increase in aesthetic ratings post-training. We suggest these results support an embodied simulation account of aesthetics, and discuss how the present findings contribute to a better understanding of the shaping of preferences by sensorimotor experience. 10 p.

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.

Contains fulltext : 99804.pdf (Publisher’s version ) (Open Access) The field of neuroaesthetics attracts attention from neuroscientists and artists interested in the neural underpinnings of esthetic experience. Though less studied than the neuroaesthetics of visual art, dance neuroaesthetics is a particularly rich subfield to explore, as it is informed not only by research on the neurobiology of aesthetics, but also by an extensive literature on how action experience shapes perception. Moreover, it is ideally suited to explore the embodied simulation account of esthetic experience, which posits that activation within sensorimotor areas of the brain, known as the action observation network (AON), is a critical element of the esthetic response. In the present study, we address how observers’ esthetic evaluation of dance is related to their perceived physical ability to reproduce the movements they watch. Participants underwent functional magnetic resonance imaging while evaluating how much they liked and how well they thought they could physically replicate a range of dance movements performed by professional ballet dancers. We used parametric analyses to evaluate brain regions that tracked with degree of liking and perceived physical ability. The findings reveal strongest activation of occipitotemporal and parietal portions of the AON when participants view movements they rate as both esthetically pleasing and difficult to reproduce. As such, these findings begin to illuminate how the embodied simulation account of esthetic experience might apply to watching dance, and provide preliminary evidence as to why some people find enjoyment in an evening at the ballet. 10 p.

Studies investigating human motor learning and movement perception have shown that similar sensorimotor brain regions are engaged when we observe or perform action sequences. However, the way these networks enable translation of complex observed actions into motor commands-such as in the context of dance-remains poorly understood. Emerging evidence suggests that the ability to encode specific visuospatial and kinematic movement properties encountered via different routes of sensorimotor experience may be an integral component of action learning throughout development. Using a video game-based dance training paradigm, we demonstrate that patterns of voxel activity in visual and sensorimotor brain regions when perceiving movements following training are related to the sensory modalities through which these movements were encountered during whole-body dance training. Compared to adolescents, young adults in this study demonstrated more distinctive patterns of voxel activity in visual cortices in relation to different types of sensorimotor experience. This finding suggests that cortical maturity might influence the extent to which prior sensorimotor experiences shape brain activity when watching others in action, and potentially impact how we acquire new motor skills.

Understanding how action perception, embodiment, and emotion interact is essential for advancing knowledge about how we perceive and interact with each other in a social world. One tool that has proved particularly useful in the past decade for exploring the relationship between perception, action, and affect is dance. Dance is, in its essence, a rich and multisensory art form that can be used to help answer not only basic questions about social cognition but also questions concerning how aging shapes the relationship between action perception, and the role played by affect, emotion, and aesthetics in social perception. In the present study, we used a 1-week physical and visual dance training paradigm to instill varying degrees of sensorimotor experience among non-dancers from three distinct age groups (early adolescents, young adults, and older adults). Our aim was to begin to build an understanding of how aging influences the relationship between action embodiment and affective (or aesthetic) value, at both brain and behavioral levels. On balance, our results point toward a similar positive effect of sensorimotor training on aesthetic evaluations across the life span on a behavioral level, but to rather different neural substrates supporting implicit aesthetic judgment of dance movements at different life stages. Taken together, the present study contributes valuable first insights into the relationship between sensorimotor experience and affective evaluations across ages, and underscores the utility of dance as a stimulus and training intervention for addressing key questions relevant to human neuroscience as well as the arts and humanities.