Kinesthetic Empathy: Concepts and Contexts

Kinesthetic Empathy: Concepts and Contexts Roster of poster presentations (full abstracts to follow) Sensorimotor memory for dance postures: insights ...
Author: Austin Hawkins
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Kinesthetic Empathy: Concepts and Contexts Roster of poster presentations (full abstracts to follow) Sensorimotor memory for dance postures: insights from expert ballet dancers Fatma Al Psychology Department, City University London Here we aim to explore how dancer’s sensorimotor expertise contributes to enhance memory for dance. Previous studies in Working Memory (WM) have shown that the WM storage can improve if a visual representation of the item already exists in long term memory. Here we use dancers’ visual and motor expertise to investigate if WM capacity does also benefit from acquired sensorimotor representations….

Segmentation of dance movements and pantomime by dance experts and novices Bettina Bläsing, Carolin Kornfeld & Thomas Schack Faculty of Psychology and Sport Sciences, University of Bielefeld, Germany Studies of event segmentation show that the way observers segment observed actions plays an important role for understanding and remembering such actions. We were interested in segmentation of movement sequences that did not include interaction with objects, which occur rarely in natural situations but are common in dance improvisation or choreography. Expertise studies have shown that dancers have more functionally structured movement representations in long term memory than novices and that dance experts show different brain activity when watching movements from their own repertoire (e.g., Calvo-Merino et al, 2005). Based on these findings, we assumed that segmentation of observed movement sequences is also influenced by dance expertise….

PROJET HD Philippe Chéhère Dancer- choregrapher The HD project is the fruit of choreographic research by dancers-choreographers Philippe Chéhère, Julie Salgues and Anatoli Vlassov together with people who are directly or indirectly affected by a genetic disorder that is characterized by abnormal movement, Huntington's Chorea. The project is supported by the French Association against Myopathy (AFM), Micadanses, CND, and la Mairie de Paris….

What bending bodies and acrobatic feats reveal about kinesthetic empathy in the human brain Emily S. Cross Max Planck Institute, Leipzig, Germany Social interaction requires representations of people’s bodies. Prior investigation into the neural underpinnings of body representation implicates the involvement of several brain regions, including those involved in visual processing (such as the posterolateral and ventral temporal cortex), as well as the inferior frontal gyrus (IFG) and inferior parietal lobule (IPL), which compose the so-called mirror system, thought to provide a neural link between observed and executed actions (Rizzolatti and Craighero, 2004). With two functional magnetic resonance imaging (fMRI) studies, we examined the responses of this network to bodies engaged in highly skilled acts of contortion and gymnastics…

Rescuing kinesthesia through somatic based dance-technology Isabel Maria de Cavadas Valverde Institute of Humane Studies and Intelligent Sciences, The Foundation for Science and Technology, Portugal Following my theoretical framework on dance-technology interfaces and artistic practice-based research in somatic based contemporary dance approach, I have been interested in work that emphasizes the kinesthetic experience, awareness, participation and empathy (particularly when experimenting with media technologies). Mostly as reflexive interfaces, the works have an inclusive and questioning attitude towards the very body-tech interfaces and the visual and audio dominance and consequent lack of focus on the embodied engagement. I would like to argue that, independent from media technology, the type of dance or choreographic approach influences the way kinesthesia is or is not addressed, expressed and sensed by performers and audience members…

Kinesthetic empathy and dancer-choreographer relations in contemporary dance rehearsal: a case study Shantel Ehrenberg The Watching Dance Project, The University of Manchester, UK The dancer-choreographer relationship in contemporary dance rehearsal is explored via a case study from the researcher’s postdoctoral work. The aim is to explore the phenomenology of dancer-choreographer relations in rehearsal and align it with current theories on the concept of kinaesthetic empathy (e.g. Foster, 2008; Gallese, 2008; Reynolds, 2007) and intersubjectivity/intercoporeality (e.g. Weiss, 1999). More specifically, to show how kinaesthetic empathy is crucial in the rehearsal context in contemporary dance and makes it possible for the dancer to make “the very motif of the choreography visible” (Parviainen, 1998).

The MoverWitness exchange: Pedagogy and Communication Tool Eila Goldhahn Senior Registered Dance and Movement Psychotherapist ADMP UK Gesellschaft für Tanzforschung (German Society for Dance Research) The MoverWitness exchange examines form and content of gesture in embodied communication whilst developing skills in empathetic communication between participants. Its interdisciplinary application is the result of practice-led research that arose out of a new interpretation of Authentic Movement originating from the field of Dance and Movement Psychotherapy….

From kinesthetic empathy to actuating reciprocity with the model of the Sensible(*) : a process of relating to the other applied in performative art Didier Austry, Karine Grenier and Danis Bois; CERAP (Centre for Applied Research and Studies in Perceptual Psychoeducation), Fernando Pessoa University, USA Thierry Heynderickx; actor; somatic-psychoeducator; founder of La Compagnie du Passeur This communication will present our research on the paradigm of the ‘Sensible’ to bring to light our perspective on the nature and role of kinesthetic empathy. Beyond kinesthetic empathy seen as an effect on the spectator, the performative art tradition has also considered tonic contagion and emotional contagion. Today, extensive neuroscientific research has been carried out on these dimensions, which reveal the presence of physiological support for empathy: mirror neurons, proprioception, emotional contagion and neuronal support for empathy…

Enhanced cortical excitability induced by watching dance in empathic and visually experienced dance spectators. Marie-Helene Grosbras1, Corinne Jola1,, Anna Kuppuswamy2 , Frank Pollick 1 1. University of Glasgow 2. National Institutes of Health, Bethesda, Maryland , USA Watching someone else moving engages the same regions in our brain that are active when we move ourselves. How does this “motor resonance” differ across dance spectators and how can this relate to subjective preferences? We assessed motor cortical excitability using transcranial magnetic stimulation to stimulate the brain, and electromyography to record muscle responses, while spectators with various levels of familiarity with dance but no training watched live-performances of ballet, Indian dance or mime. Our results show that, even without physical training, spectators can simulate the movements they are visually familiar with, and that empathy increases resonance with dance.

Tactile manoevres: touch and intention in dance Sue Hawksley dance-artist and bodywork therapist, PhD student, Edinburgh College of Art, UK Bodyworker Ida Rolf proposed that 'seeing is touch at a distance'. (Thompson, 2009) Here the question is raised whether touch can be considered as seeing close-up? Haptics are a complex set of senses, involving the proprioceptive, kinaesthesic, vestibular and visceral systems, "a singular sense that corresponds to no single organ". (Paterson, 2007). This presentation proposes methods for an inquiry into how information relating to movement impulse, intention, quality and dynamic may be transmitted through touch, and for training ways of 'seeing-through-touch'. The focus is upon intention, attention and the interface between performers…

Movement synchronization to a virtual dancer: How do expert dancers synchronize dance movements to those of a virtual dancer? J.J. Honisch, N. Roach, M. T. Elliott & A. M. Wing Behavioural Brain Sciences Centre, School of Psychology, University of Birmingham, UK Researchers across a variety of disciplines recognize the amount of practise in motor training that dancers undertake and acknowledge their skills. This practise has been found to enhance their proprioceptive ability of position-matching in space compared to non dancers (Ramsey & Riddoch, 2001). The question arises does performing more accurately in space imply that dancers perform more accurately in time and is this a general improvement of their motor timing or specific to their rehearsed movement repertoire? The current research proposes a paradigm that allows quantitative analysis of interpersonal dance synchronization.…

Dance with or without music: Does the brain care? Corinne Jola, Marie-Helene Grosbras and Frank Pollick Psychology Department, University of Glasgow, UK Does music enhance the clarity of a dance, so that people correspond more in their responses? To understand the neural basis of the dance audience, we examined spectators’ brain activity while they watched a 6-min dance piece once with music, once without music and once while they listened to the music only. Brain activity was found to be synchronized across spectators in functionally relevant areas previously reported for uni- and multisensory processing of audiovisual stimuli, namely in visual and auditory cortices, as well as the superior temporal gyrus for multisensory stimuli. We also found that music enhanced multisensory entrainment, or synchronicity amongst spectators.

Effect of dance on Parkinson disease Rumyana Kristeva The laboratory for cortical motor control, Neurology Department, University of Freiburg, Germany The inspiration for this project came from the project started in 2001 by the collaborative effort between Mark Morris Dance Group (MMDG) and the Brooklyn Parkinson Group (BPG) in New York who have been offering weekly dance classes for Parkinson’s patients and their caregivers. The positive results of these dance classes in terms of an increased quality of life (QLS questionnaire) after 17-months visits of the dance classes and the rationale of the classes are summarized in Westheimer (2008)...

Empathy and Kinesthetic Empathy in Individual Sessions within a Primary School Context Sotiria (Sissy) Lykou MA Dance Movement Psychotherapist, London, UK Our case study focuses on the use of empathy and kinesthetic empathy in the therapeutic relationship with a ten year old girl who attends a mainstream primary school. We explored the underlying meaning of our communication through dance movement psychotherapy (DMP) mainly. DMP has the advantage of the non verbal communication and this is something widely used by children and adolescents who experience the changes in their body and their world very rapidly. It is considered to be suitable for children with emotional or behavioural problems. The goal treatment which is usually requested of dance movement therapists in schools is to increase a pupil’s self-esteem…

A behavioral index of ‘flow’ state in improvised joint action Lior Nor Systems Biology, Harvard Medical School, USA A host of human activities involve several actors performing non-scripted, improvised actions, however, most behavioral studies focus on a single actor performing a scripted activity. Questions regarding how humans represent, plan and execute joint actions have recently become the focus of an active research field (Sebanz et al. 2006). We suggest a novel experimental approach for studying improvised joint actions using a simple model, a known theater exercise called the mirror-game…

Leaping Around in Our Minds Katie Overy & Istvan Molnar-Szakacs Institute for Music in Human and Social Development (IMHSD), University of Edinburgh, UK and the Semel Institute for Neuroscience and Human Behavior, University of California, Los Angeles, USA Drawing on the new neuroscientific evidence of the role of the Mirror Neuron System (MNS) in human perception, we have developed a model of the neural basis of emotional responses to music, which we call the Shared Affective Motion Experience model, or SAME (Molnar-Szakacs & Overy 2006, Overy & MolnarSzakacs 2009). The model suggests that musical sound is perceived not only in terms of the auditory signal, but also in terms of the intentional, hierarchically organised sequences of expressive motor gestures behind the signal. According to the model, features of the motion information are processed by the human mirror neuron system, while the limbic system allows incoming information to be evaluated in relation to one’s own autonomic and emotional state, leading to a complex emotional response to music…

Dance performance as a nursing intervention Teija Ravelin, Kajaani University of Applied Sciences, Finland Arja Isola, University of Oulu, Department of Health Sciences, Finland Jari Kylmä, University of Tampere, Department of Nursing Science, Finland The aim of this study was to describe and evaluate the use of dance performance as an intervention in the care of elderly persons with dementia. The task of the research was to describe and evaluate how demented elderly persons experience dance performances and describe dance performance and its essence as an intervention. The method was qualitative evaluation research. The informants of the study were demented elderly persons.their family members, nurses and practical nurse students….

Perceiving performer identity and intention in point-light displays of dance Vassilis Sevdalis & Peter E. Keller Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany Musical communication is a dynamic interactive process. Performers can communicate with observers in musical contexts. Which cues provided by performers or prevailing in the interaction influence this process? The aim of this study is to investigate the role of spatial and temporal cues used by observers to detect the identity and intentions of performers acting in musical contexts.

It's Not All in Our Head! Introducing Parental Embodied Mentalization in Kinesthetic Interactions of 6-month-old Infants and their mothers Dana Shai, Institute for the Study of Children, Families and Social Issues Birkbeck, London Parental mentalization – the capacity to understand, interpret, and respond to the child as a psychological agent whose behaviour is motivated by intentional mental states – is an important predictor of child's attachment security and subsequent mentalization capacities. This presentation challenges traditional verbal approaches to parental mentalisation, based on the claim that verbal mentalisation be regarded as just one mode of mentalising, with another involving bodily movement. Parental Embodied Mentalisation (PEM) refers to the parental capacity to (1) implicitly conceive, comprehend, and extrapolate the infant's mental states--such as wishes, desires, or preferences--from the infant’s kinaesthetic patterns and (2) adjust one’s own kinaesthetic patterns accordingly.

Empathy or imitation? Effect of poor vs. enriched visual scene on rapid equilibrium responses – Preliminary study Banty Tia Laboratory INSERM U887 & CHU - Centre de Gériatrie Champmaillot, France The observation of unsteady posture may lead to different types of reactions, either imitative (the observer leans to the same side as the actor), or compensatory (the observer leans to the opposite side) (Sebanz & Shiffrar, 2007). Automatic imitation (e.g. facial expressions or postures) is probably involved in the recognition process and contributes to understand others’ intentions. Then it could facilitate empathy, the ability to put oneself in someone else’s place (Lipps, 1897). Our goal is to better understand imitation and empathic processes, and how the visual context can tune these two different behaviours…

Keeping together in time Martine Turgeon Sensory Neuroscience Unit, Psychology Department, Lancaster University, UK From members of a choir singing in unison to a group of soldiers walking in step, entrainment (i.e., being together in time) is at the core of human activity. Interindividual entrainment might have played a key role in human evolution by promoting social cohesion and cooperation. Involving an intimate link between perception and action, as well as social interactions, being together in time is at the centre of that new embodied approach to music and dance that has been linked to the Mirror Neuron System or MNS….

Kinesthetic empathy, motor memory and sleep Ysbrand D. Van Der Werf Netherlands Institute for Neuroscience, Dept. Sleep & Cognition and VU University Medical Center, Depts. of Anatomy & Neurosciences, The Netherlands Kinesthetic empathy, the sensation to participate in and simulate the movements we are observing, is instrumental for learning new motor skills, as in sports or dance training. Motor skill learning typically requires the subjects to perform a task and experience the task rules and contingencies, thereby acquiring a motor memory. Such skill memories can also be formed through observation of someone else performing the task. We investigated whether learning through observation requires sleep, similar to learning through performance…

Moving while watching dance Liesbeth Wildschut Utrecht University, the Netherlands The Dutch choreographer Nanine Linning writes: ‘Maybe the highest good in a dance performance is to let the audience and the dancer become one body’. The intriguing process of transformation from seeing movements to feeling movements informs this research. By laying bare the mechanisms which are active in this process, the interaction between performance characteristics and audience characteristics can be better understood, which can be helpful for choreographers

Bodies in the World: Schema and Kinesthetic Empathy Margaret Wilson Department of Theatre & Dance, University of Wyoming, USA Employing a schema of “body” to explain how we develop knowledge from our experience in the world embraces the innate conflict, complexity, and beauty in the term body. The word is used to describe containment and embodiment: body implies structure and substance: the body is collective knowledge and physical capacity: narrative and vitality. The body is static and dynamic, present and performative, absent and illusive. The body schema can also be utilized to understand dance and dance performance and kinaesthetic empathy…

Preliminary research into kinesthetic empathy and the viewing of screen dance Karen Wood The Watching Dance Project, The University of Manchester Drawing on qualitative and sociological reception research methodologies, choreographers have been interviewed using a semi-structured framework to gain information about their creating process and to understand what they envisage their viewers experiencing. Six choreographers and filmmakers were chosen that represent artists from a diverse background: trained dancers, established choreographers, DJs and filmmakers. All six work with contemporary dance and experimental film…

But Still, They Move: Kineasthetic Response to Moving and Still Images Kirk Woolford Dept of Media, Film and Music, University of Sussex The title refers both Galileo Galilei’s famous statement, “But Still, it Moves”,and an influential paper of the same name by Zoe Kourtzi. Galileo referred the apparent motion of the Sun around the Earth while Kourtzi’s refers to our ability to infer motion that is not actually present. Building on these explorations of apparent movement, this presentation charts the development of a body of practice-led research into embodied responses, aka, kineasthetic empathy in response to photographic, graphic, moving and still images. More specifically, it asks how observations of audience and viewer responses to these works can inform psychology and neuroscience, and how an understanding of neural function can help focus their kineasthetic impact…

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