Modulation of corticospinal excitability during paintings viewing: A TMS study

Can static Rorschach stimuli perceived as in motion affect corticospinal excitability?

It has been proposed that seeing human movement or activity (M), while trying to say what the static Rorschach inkblot design look like, is accompanied by Mirror Neuron System (MNS)-like mirroring activity in the brain. The present study aimed to investigate whether the Rorschach cards eliciting M responses could affect the excitability of the motor cortex by recording motor evoked potentials (MEPs) elicited by single-pulse TMS over the primary motor cortex (M1). We hypothesized that Rorschach inkblot stimuli triggering the viewer's experience of human movement would increase corticospinal excitability. Twenty-one healthy volunteers (15 women) participated in the preliminary experiment, while another different sample of twenty-two healthy participants (11 women) ranging in age from 21 to 41 years was enrolled in the main experiment. Our results showed that the Rorschach cards known to be associated with a high number of M responses elicited human movement both as automatic internal sensations and as verbal production of responses involving human movement. However, contrary to our hypothesis, the reported internal feeling of human movement had no corresponding physiological counterpart, as the amplitude of MEPs did not increase. Possible and innovative explanations for the involvement of bottom-up and top-down processes were provided.

The influence of sensorimotor experience on beauty evaluation of preschool children

Nowadays there is a broad consensus on the role of multimodality in the construction of an embodied aesthetic experience in adults, whereas little is known about the relationship between sensorimotor and aesthetic experience during development. To fill this gap, the present study investigated whether sensorimotor experience with sculpting natural materials (i.e., clay or sand) influences beauty judgments offered to abstract artifacts made by the same materials. Five years old children (n.47) were asked to rate tactile (How smooth is it?), visual (How dark is it?) and beauty (How much do you like it?) proprieties of two artifacts using a visual-analog measurement-tool ad hoc developed to fit children's cognitive skills. Participants rated the artifacts before and after a free-hands manipulation with only one of the two sculpting materials, either sand or clay. Results showed that the greater the sensorimotor interaction experienced with the artifacts, the higher the increment of beauty rating offered to the artifacts made by the same material previously manipulated. No modulations were found for tactile and visual ratings. These results demonstrate that, even in pre-school children, aesthetic experience is specifically linked to its sensorimotor component, supporting, from a developmental perspective, the definition of aesthetic experience as intrinsically rooted on beholders' bodily experience.

Visceromotor Roots of Aesthetic Evaluation of Pain in art: an fMRI Study

Empathy for pain involves sensory and visceromotor brain regions relevant also in the first-person pain experience. Focusing on brain activations associated with vicarious experiences of pain triggered by artistic or non-artistic images, the present study aims to investigate common and distinct brain activation patterns associated with these two vicarious experiences of pain and to assess whether empathy for pain brain regions contributes to the formation of an aesthetic judgement (AJ) in non-art expert observers. Artistic and non-artistic facial expressions (painful and neutral) were shown to participants inside the scanner and then aesthetically rated in a subsequent behavioural session. Results showed that empathy for pain brain regions (i.e. bilateral insular cortex, posterior sector of the anterior cingulate cortex and the anterior portion of the middle cingulate cortex) and bilateral inferior frontal gyrus are commonly activated by artistic and non-artistic painful facial expressions. For the artistic representation of pain, the activity recorded in these regions directly correlated with participants’ AJ. Results also showed the distinct activation of a large cluster located in the posterior cingulate cortex/precuneus for non-artistic stimuli. This study suggests that non-beauty-specific mechanisms such as empathy for pain are crucial components of the aesthetic experience of artworks.